bluuebunny/crossref_metadata_2025 huggingface dataset:
Marinetti ‘s Early Writings And Aesthetics: A Prelude To Futurism
Authors: Berghaus Günter
Published: November 2023

Emilio Angelo Carlo Marinetti, who later called himself Filippo Tommaso, was born in 1876, in Alexandria in Egypt, as the second son of the Piedmontese lawyer Enrico Marinetti and Amalia Grolli, daughter of a literary professor from Milan. Marinetti senior had come to Egypt with the hope of making his fortune in the European community residing in the country. He set up a lawyer ‘s office in Alexandria, where he conducted civil litigation and court cases, as well as giving advice on financial deals. When his two children reached school age, they were sent to a French institution run by Jesuit priests. The College Saint-Frarn;:ois-Xavier was a school for the foreign elite. It was international in outlook, had an arts-based curriculum, and pursued a solidly Catholic educational programme. Tuition at the school was conducted in French, which became like a second mother tongue to Filippo Tommaso. From an early age, Marinetti was a prolific writer of poetry. In order to see his works published he founded his own magazine, Le Papyrus: Revue bi-mensuelle litteraire) artistique) fantaisiste et mondaine. Twenty-one numbers appeared between February 1894 and January 1895, and they had a remarkably professional touch. Marinetti ‘s own contributions not only included poems, but also essays on literary questions, new artistic trends, and political issues.
The Founding Of The Futurist Movement And The First Manifestos
Authors: Berghaus Günter
Published: November 2023

In 1908, Marinetti undertook his first attempts at founding a new literary movement, which he intended to name Elettricismo or Dinamismo. He was certainly qualified to function as the leader of such a school. He had achieved literary success with his poems, notoriety with his play Le Roi Bombance, popular fame with his many public appearances as a declaimer and agitator. He had become a celebrity, who had entered the gossip columns of magazines and whose face turned up in popular caricatures2 - a clear indication that he had become a household name on the Italian cultural scene.
Political Action Theatre As A Performative Genre
Authors: Berghaus Günter
Published: November 2023

From the inception of the Futurist movement, Marinetti made it quite clear that he saw in it not only an artistic, but also a social and political force of innovation. His project of renewal encompassed all aspects of human existence, and was conceived as a total and permanent revolution. What was later called ‘Futurist Reconstruction of the Universe ‘ was aimed at a transformation of life in both its physiological and psychological aspects, and especially of the social and cultural political conditions in the modern metropolis. The aim of the Futurist movement was not just to bring about an aesthetic revolution, but to effect a total overhaul of society. The Foundation and Manifesto of Futurism implied that the one could only be realized in conjunction with the other. Hence Marinetti ‘s exultation of the masses and the world of industrial labour, of political agitation, strikes, and especially, of the anarchists ‘ violent actions in their destructive and creative forms. Futurism was conceived as a means of bridging the gap between art and life. Life was to be changed through art, and art was to become a form of life. It was Marinetti ‘s firm belief that artists with their superior creativity, intuition, and vitality had an important contribution to make to this process of renewal. From developing a programme of change in art and life it was a natural and logical step to enter into the political arena and to become engaged in the political struggles of the era. However, as Marinetti emphasized in several interviews and articles of the period, the Futurists were not to become like professional politicians (the ‘merchants of arguments who prostitute their brains in shops erected for the sale of subtle ideas and chiselled syllogisms ‘). He aimed at an ‘aestheticization of politics ‘ and a ‘politicization of aesthetics ‘, which was probably best demonstrated in the performative genre which I shall refer to as ‘political action theatre ‘.
Futurist Dramatic Theory: The Early Manifestos
Authors: Berghaus Günter
Published: November 2023

In 1909/ro, the Futurists found themselves in a situation where a theatrical reform and the creation of a new type of drama required a radical change in all aspects of theatrical production: from the function of theatre in society to audience expectations, from the form of plays to their mise-en-sci:ne, from acting to scenography. It is to the merit of the Futurists that they confronted all these problems and produced many original suggestions as to how the grave deficiencies of the theatre of their time could be remedied. Understandably, they were not able to try out all of their theories on stage; and when they did have a chance to put their ideas to a test, not all of these experiments were successful. But throughout the first ten years of the movement ‘s existence the Futurists made conscious efforts to free themselves from the conventions and rules of traditional theatre. They sought to rely on their own inventiveness and to create alternative models to the theatrical practice of their time. Early Futurist acting theory, for example, had nothing in common with any of the existing performance styles, but was entirely derived from Marinetti ‘s own experience as a declaimer. Similarly, early Futurist drama, the sintesi, did not follow the established patterns of short one-act dramas, but was a combination of experiments made during the serate and of attempts to capture modern life in brief, condensed forms of theatre.
Futurism And The Professional Theatre: The First Companies Touring With A Futurist Repertoire
Authors: Berghaus Günter
Published: November 2023

After the Italian theatre world had been introduced to the budding FrancoItalian dramatist F. T. Marinetti, by means of a production of the preFuturist play, Poupees electriques (see above, pp. 32 5), the author undertook no further attempts to establish Futurism as a new force in the Italian repertory theatre. Instead, he concentrated on organizing an effective publicrelations campaign to propagate the aims of his movement. The use of theatre buildings for this purpose was nothing unusual in a country where the majority of the population was unable to read a newspaper or a manifesto. The serate were initially conceived as a propagandistic tool. But over the years, they served as an important laboratory for a new aesthetics of performance and the development of Marinetti ‘s concept of art as action.
Theatre Performances In Art Galleries
Authors: Berghaus Günter
Published: November 2023

The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19rn, April 19II, December 19II). The participation of Futurist artists in these exhibitions was undoubtedly a significant achievement, but the real breakthrough of Futurist painting and sculpture on the international art scene only occurred in 1912/r3 with the opening of the touring exhibition of Futurist art works at the Galerie Bernheim Jeune in Paris (5 February 1912). The show was reviewed in many French, Italian, German, and English newspapers and attracted large audiences when it travelled to London (March 1912), Berlin (April 1912), Brussels CTune 1912), Amsterdam (September 1912), Chicago (March 1913), and Rotterdam (May 1913). Other important Futurist exhibitions were held in London (at the Marlborough Gallery in April 1913 and at the Dore Galleries in April 1914), in Paris (at the Galerie La Boetie in June/July 1913), and in Berlin (at the Stumz Gallery in November 1913). In 1913/r4 there were also several Futurist exhibitions in Rome, Florence, and Milan.
Enrico Prampolinl ‘s Early Futurist Career
Authors: Berghaus Günter
Published: November 2023

Enrico Prampolini (1894-1954) was born in Modena and came to Rome, probably in 19rr, to take up his training at the Academy of Fine Arts under the guidance ofDuilio Cambellotti. He was an assiduous visitor to art exhibitions and frequented with equal enthusiasm the theatres, opera houses, and concert halls of the capital. He developed a friendship with the music critic Vittorio Podrecca and immersed himself in musical theory, especially the Wagnerian concept of Gesamtkunstwerk (a Total Work of Art), which was to occupy a prominent position in his own theoretical writings.
Fortunato Depero ‘S Theatrical Experiments Of The 1910s
Authors: Berghaus Günter
Published: November 2023

Fortunato Depero (1892-1960) arrived in Rome in December 1913. He was 21, penniless, and had been attracted to the capital by the news circulating in his hometown about the Futurist renewal of Italian culture. He was born in Fondo in the Trentino and grew up in Rovereto, a small town then belonging to the Austro-Hungarian empire. His education had been mitteleuropean in outlook, and his first artistic attempts in the fields of literature and drawing followed the models of Jugendstil, Art Nouveau, and Symbolism. After failing the entrance exam at the Academy of Arts in Vienna, Depero took up an apprenticeship with a local sculptor and worked part-time for a decorator.1 However, carving tombstones and moulding gypsum cornices did not satisfy his artistic ambition, which had been spurred by the Vienna Secession painters and the angst-ridden illustrations of Alfred Kubin. His second public exhibition, held in February 1913 in a local stationery shop, presented a collection of ‘grotesque art ‘2 made up of gruesome portraits, deformed figures, and gargoyle-like caricatures. In June 1913 he published a slim volume, Spezzature, which contained examples of his own poetry and prose, accom-panied by rather bizarre illustrations. Alto Adige used the term ‘Futurist ‘3 to characterize the pieces that evoked big-city life (e.g. ‘Impressioneritmica ‘) or expressed Depero ‘s ‘forceful impetus towards the Infinite ‘, his ‘vast dreams of impossible greatness ‘, and his desire for a ‘life of violence ‘. Passamani believes that some of the verses were directly inspired by the anthology I poetifuturisti, published in 1912 by the Edizioni futuriste di ‘Poesia ‘. Scudiero has since discovered a correspondence between Marinetti and the Rovereto journalist and poet Sottochiesa and has suggested that the latter ‘s collection of poems, La nova voce (Rovereto: Tipografia Grandi, 1912), had had a stimulating influence on Depero.
From The Religion Of Speed To The Cult Of The Machine
Authors: Berghaus Günter
Published: November 2023

Futurism was part of the modernist project to find an artistic language that could give expression to great upheavals in the physical and mental landscape of the world in the wake of the Industrial Revolution. From about 1890 onwards, Europe was rife with trends and developments which indicated that a radical change of direction from nineteenth-century culture was afoot. Many artists, often formally organized in schools and movements, rallied behind Rimbaud ‘s call, ‘One has to be absolutely modern, ‘ and involved themselves in this project of renewal. But none of them developed an allencompassing theory of modernism nor a comprehensive scheme for its realization. Marinetti came into contact with many aesthetic and ideological currents during his early, pre-Futurist career. They influenced his intellectual development and served to shape his vision of a new and revolutionary artistic practice. From these, he progressively assembled the basic ingredients of an artistic programme which, in 1909, he presented to the world as the Foundation and Manifesto of Futurism.Marinetti had been brought up in Egypt on religious and philosophical principles belonging to a pre-industrial age. When, as an adolescent, he came to Europe, he discovered a new world. He marvelled at the wonders of technology displayed everywhere in Paris and in the capitals of other industrialized nations. When he settled in Italy, he felt he was stepping back in time and returning to an under-developed, backward country.
Fillia‘s Theatrical Experiments Of The 1920s
Authors: Berghaus Günter
Published: November 2023

Luigi Colombo (1904-36) began his artistic and literary career in Turin when, in 1922, he published a small volume of political poetry and exhibited his first paintings. In 1923 he was one of the founding members of the Futurist Artistic Syndicate, and from 1924 he became the leader of a Turin branch of the Futurist movement, using from now on his mother ‘s maiden name as his nom de plume. Over the next ten years he built up a wide-ranging CEuvre which extended into many media, such as painting, poetry, drama, the novel, architecture, interior design, ceramics, fashion design, and cooking. The guiding principle behind Fillia ‘s multifaceted activities was the Futurist ‘Reconstruction of the Universe ‘, which he elucidated in a number of theoretical writings.1 His publishing ventures and managerial activities made him, especially in the 1930s, one of the most important members of the Futurist movement, eclipsed only by Marinetti and Prampolini. He was a chief architect of the dominant aesthetic trends of the Second Futurist phase: first ane meccanica, then arte sacra and aeropittura.
Fedele Azari And Futurist Aerial Theatre
Authors: Berghaus Günter
Published: November 2023

Fedele Azari (1895-1930)1 grew up in the prosperous, industrialized zone north of Milan. The first aeronautical factories of Caproni and Macchi had been built near his home town. They regularly organized flying competitions and air shows, which captured the imagination of the young Azari and led him to win, at the age of 16, first prize in a model-making competition. In 1912 he joined the Futurist movement and became actively involved in the artistic enterprises of their Milan and Turin branches. According to his father ‘s wishes, he studied law at Turin University and for a while pursued the career of a lawyer. Because of his legal expertise he served as First Secretary of the Futurist movement and acted its as official representative at major public events, such as the First Futurist Congress of 1924. However, his real passion was flying, which in combination with Futurist aesthetics was the determining force of his short life.
Futurism Tied To The Procrustean Bed Of The Fascist State
Authors: Berghaus Günter
Published: November 2023

In the course of the 1930s, many of the first- and second- generation Futurists underwent a transformation in their artistic and political outlook. The increased spiritual and subsequently religious character of Futurism (indicated by Fillia ‘s La pittura spirituale, Prampolini ‘s Architettura spirituale, the group manifesto Ane sacrafuturista, etc.) reflected a quest for cosmological certainties when all revolutionary hopes of the past had been shattered. For most Futurists, the alliances with both the Fascists and the Communists had been great disappointments. Many ideals had been destroyed and beliefs in a social and cultural revolution had given way to desperate attempts to find protectors and patrons in the hierarchy of the Mussolini regime. But the conservative, if not reactionary, tastes of the Fascist functionaries meant that favours were predominantly handed out to the Novecento artists. The dream of Futurism as a State art supported by a revolutionary Fascist government did not come true. Fight for survival in a hostile environment became the main motto of Marinetti ‘s movimento futurista from 1924 onwards.

In the 1930s, it became clear to the authorities that the Fascist transformation ofltalian cultural life was much less successful than it appeared on the surface. A police report on the situation in the Syndicate of Writers and Authors and the Artists ‘ Syndicate in the year of the Decennale noted widespread dissatisfaction with, and opposition against, the State and its corporations. And the journal Critica fascista diagnosed in 1933: ‘Even after ten years of Fascist rule the old divide between the new State and the cultural life of the country has not been overcome.
Introduction Mapping the Terrain
Authors: Boa Elizabeth , Palfreyman Rachel
Published: November 2023

This study concerns a multifaceted tradition of cultural reflection and political aspiration which through many transformations has informed debate on German identity for at least a century. The core meaning of the word ‘Heimat’, its denotation, is ‘home’ in the sense of a place rather than a dwelling, but as the many combinations such as Heimatstadt (home town), Heimatland (native land), Heimaterde (native soil), Heimatliebe (patriotism, whether local or national), Heimatrecht (right of domicile), Heimatvertriebene (refugees driven out from a homeland), Heimatforschung (local history), Heimatkunde (local geography, his¬ tory, and natural history) suggest, it bears many connotations, drawing together associations which no single English word could convey. Hence we have chosen to use the German word, and to do so without italics to avoid confusion with Heimat as a title. Hidden within the difficulty of translation lies the sediment of the troubled history of the German-speaking lands. The transition from the particularist patchwork of states to the Prussian-dominated, unified Germany of l871 was marked by tensions between regional and national identity which were intensified by the extreme rapidity of industrialization and urbanization. In the period from the 1840s to 1900 Germany overtook Britain to become the second biggest industrial power after the USA and her population was changing from beingpredominantlyruralto becoming urban.
Heimat at the Turn of the Century The Heimat Art Movement and Clara Viebig’s Eifel Fictions
Authors: Boa Elizabeth , Palfreyman Rachel
Published: November 2023

Heimat discourse catered for that conservative public and could shade into a more radicallyreactionarymode.A polemic favoured on the centre-right of the urban intelligentsia around the turn of the century when the Heimat novel too reached a mass readership, Heimat discourse was a product of a new chattering class of journalists and sub-Nietzschean cultural critics. This was an age ofliterarymanifestos setting battle-lines between opposing camps, although in practice the divisions were not always clear-cut. The term in currency was Heimatkunst, literally Heimat art, and was used indifferently of the visual arts and literature. The proponents of Heimat art defined their aims in opposition to the Naturalist movement.
At Home in the GDR? Heimat in East German Film
Authors: Boa Elizabeth , Palfreyman Rachel
Published: November 2023

From the foundation on 17 May 1946 of DEFA (Deutsche Film Aktien-gesellschaft) under licence by the Soviet military administration, film production in the Soviet zone and then East Germany followed a different course from in the West. DEFA’s remit, as stipulated by the Soviet authorities, was to participate in the struggle to build up a democratic Germany and to educate the German people, especially young Germans, in the spirit of true democracy and humanity. Such a mission contained the seeds for the best and worst features of East German film history as film-makers committed to the socialist project strove to produce serious, critical, and aesthetically ambitious films in the face of official demands for films in the socialist realist mode. Socialist realism was the artistic credo which emerged from the First Pan-Soviet Writers’ Congress of 1934 and was declared binding in the GDR in the 1950s: naturalistic realism deployed in the service of historical truth should show reality moving inexorably towards the communist society; in contrast to the formalism and pessimism of bourgeois elitist art, socialist realist art should be accessible to the masses and should offer role models for the public in the shape of the positive hero. Official pressure was fluctuating, however. It was not permanent warfare but rather a sequence of crises over the years as more liberal or more repressive tendencies prevailed.
Introduction: Querying Method—A Choice Between the Sensual Obsession of Film Theory and Trainspotting The Avengers?
Authors: Miller Toby
Published: November 2023

A frogman emerges from Cuban waters. He removes headgear that disguises him to anyone observing from land or air as a bird swimming. He kills a guard, enters a factory, sets explosives, and departs. Stripping down from his scuba gear, we see he is dressed in formal summer evening wear. Pausing only to adjust an adorning flower, he saunters into a cantinaand awaits the explosion he has set. It’s 1964, it’s Goldfinger(Guy Hamilton), and Sean Connery isJames Bond. In 1965, the scene is partially re-enacted for the’TheTown of No Return’. It’s the first episode of The AvengersTV series to be shot on film, the first one screened in the USA, and the debut of Diana Rigg as Mrs Emma Peel. This time, however, a figure is emerging from the distinctly unromantic water of the South of England. He is a foreign agent disguised as a schools inspector, and he cuts a far different figure. Finally, in 1994, Arnold Schwarzenegger in True Lies(James Cameron) returns to the source, transforming himself from battle gear into evening wear.
Memory
Authors: Gordon Robert S C
Published: November 2023

No other Holocaust survivor has written down and reflected on his memories of the camps over such a long period of time-from 1944/ 5, when he wrote scraps of notes in the Buna lab at Monowitz, until his death in 1987, weeks after the publication of an article for LA stampa on the revisionism debate in Germanyand with as much persistent and lucid intelligence as Levi.
Perspective, or Looking Again
Authors: Gordon Robert S C
Published: November 2023

Practical intelligence in Levi entails looking at and understanding the world responsively, flexibly, critically: it is a form of’ good’ or ‘right’ looking, looking at the world anew. And such quality of vision depends, among other things, on where one is looking from and on knowing where one is looking from: in other words on perspective. This chapter explores Levi’s subtle attention to perspective, his fascination with the tricks it can play, his awareness of the nature of his own perspective and the coexistence of different perspectives and their respective claims to being right.
Friendship
Authors: Gordon Robert S C
Published: November 2023

Levi’s narrative chronicles and creates communities. When he turned for the one and only time in his writing career to the novel form, in Se non ora, quando?, he built his entire narrative around the difficult, dangerous, and intense small community of a Jewish partisan band in hiding in the forests of central Europe, often threatened as much by their ‘fellow’ partisans-Poles, Russians, and Ukrainians-as by the Germans.
Max Frisch: Mein Name sei Gantenbein
Authors: Paver Chloe E M
Published: November 2023

Frisch’s early prose works, written and published in the I93os and I94os, made no great impact,1 but he returned to prose fiction in the I9 50s, having in the mean time established his reputation as a dramatist, and achieved considerable success with the novel Stiller(I954), in which he shows a mature grasp of the possibilities of narrative: a number of perspectives, each of which is in some way restricted or biased, are juxtaposed in such a way that each serves to highlight the limitations of the others. As Halina Malinowska has pointed out, this ‘Point-of-view-Technik’, in which each character possesses ‘ein genau bestimmtes Teil-Wissen’, is characteristic of much modernist prose.
Günter Grass: Örtlich Betäubt
Authors: Paver Chloe E M
Published: November 2023

While on the campaign trail for the SPD in 1965, Günter Grass told an audience: ‘Es liegen “Demokratische Geschichten” in der Luft’, signalling his intention, in his next literary work, to abandon the era of National Socialism, which had provided such fertile material for his first three prose works, Die Blechtrommel, Katz und Maus, and Hundejahre, and to turn his attention instead to contemporary West Germany.
Introduction
Authors: Gallagher Mary
Published: November 2023

The resounding prolificacy of French Caribbean writing during the final half-century of the second millennium prompts many questions. What does this efflorescence mean? For whom is it meaningful? Which urges have driven and sustained it? Is it distinguished by specific concerns or particular paradigms? Such questions might suggest a response framed in terms of time and space, since the passion and the appeal of this literary surge seem to inhere in the forces-reverberations, strains, and stresses-that stretch and even splice Caribbean spatial and temporal consciousness.
The Time-Space of Writing: Voicing Continuities and Texturing Traditions
Authors: Gallagher Mary
Published: November 2023

The dynamic between the spoken and the written word is a particularly productive one in French Caribbean culture. Given the crucial, if corralled, place of oral culture in the colonial era, and given the historical use of literacy, particularly perhaps in French, as an instrument of colonial domination by assimilation, the stand in of writing in the ex-colonial or neo-colonial Caribbean is bound to be complex. While recognizing the special place of oral production in French Caribbean history and culture, Eduard Glissandi is careful to distinguish between the status of the oral tradition in what he terms ‘cultures ataviques’ or ‘atavistic cultures’, on the one hand, and in ‘cultures composes’ or ‘composite cultures’, on the other.This distinction allows him to avoid setting up a binary opposition between Caribbean morality and writing.
The Plantation Revisited: Revising Time
Authors: Gallagher Mary
Published: November 2023

In the French Caribbean imagination of local time and space, few ‘chronoscopes’ are of greater significance than those of the plantation and the town. It is in relation to these two nodal topoi that most other micro- or macro-spaces on the islands are defined, usually as tributary or oppositional. They configure not only Caribbean space, but also Caribbean time. Although it would be tempting to discuss here questions such as the relation of natural or uncultivated space (sea, forest, river) to planted space, or the rich semiology of troponins, this chapter attempts to keep both space and time in focus together. This aim is facilitated by the fact that, given the collapse of the plantation system in the mid-twentieth century, ‘plantation writing’ is fundamentally retrospective. Unlike the urban chronoscope, it is, axiomatically, a ‘lieu de memoire’.
Irony, Dialogue, and the Novel
Authors: O’beirne Emer
Published: November 2023

Nathalie Sarraute’s long literary career, spanning the last two thirds of the twentieth century and recently crowned with the publication of her collected works in the prestigious Pléiade series, is justly valued for the innovations it has brought to the novel as an aesthetic form. Her most original contribution to the evolution of fiction in the twentieth century is without doubt in the area of characterization.
Reading and Otherness
Authors: O’beirne Emer
Published: November 2023

The readings of Erifance and Tu ne t’aimes pas in Chapters 2 and 3 dealt with the way their textual dialogues, being located within the authorial self, point up the insufficiency of a singular discourse when it comes to articulating the truth of that self (a predicament associated in Chapter r with Romantic irony).
Refining Russia
Authors: Kelly Catriona
Published: November 2023

Advice literature (etiquette manuals, guides to hygiene and house management, and treatises on upbringing) enjoyed massive popularity in Russia between the late eighteenth and the late twentieth centuries. It reflected changing attitudes to appropriate behaviour in private and public, to the acquisition of possessions, and not least to national identity (for many Russians, reading how-to books was seen as a way of ‘learning how to be a Westerner’). Written or translated by members of the cultural elite trying to encourage what they saw as civilized behaviour, advice literature was also a conduit for changing views of mass readers and of their place in society. This important and engaging book is the first systematic exploration of this hitherto neglected genre of popular printed text. It examines the evolution of advice literature from the Enlightenment to the post-Soviet era, from translations of Fénelon and Madame de Lambert in the 1760s and of Samuel Smiles in the late nineteenth and early twentieth centuries, to tracts by Gogol and Tolstoi, Soviet pamphlets on ‘how to be cultured’, and post-Soviet guides to ‘window treatments’. It draws on a huge range of sources – memoirs, ‘novelised conduct books’ such as Anna Karenina, parody advice literature, letters, and reviews – to examine the broader significance of how-to books, and their relationship with daily life (byt) as construct and as lived reality. The result is a book that not only makes a major contribution to the study of popular culture, but also throws an unexpected and revealing light on Russian history more broadly.
The Beauties of Byt: Household Manuals, Social Status, and National Identity, 1830–1880
Authors: Kelly Catriona
Published: November 2023

Pushkin’s paean to Prince Yusupov as the perfect Westernized Russian aristocrat, with which the the previous chapter began, was also a hymn to social harmony. Associating with members of the Third Estate, such as Voltaire, Diderot, or Beaumarchais, as effortlessly as he did with Marie Antoinette and her court, Yusupov exemplified the Enlightenment virtue of lyubeznost’, amiability, a quality that, like self-restraint, wide reading, and sparkling conversation, was considered essential to civilized behaviour.
Self-Help and Spending Power: Advice Literature in Late Imperial Russia
Authors: Kelly Catriona
Published: November 2023

In the first century of its presence in Russia, the literature of conduct regulation had generally imagined a reader who was, while not necessarily an aristocrat, certainly a member of the privileged classes.1 A well-bred person was assumed to have an education that had progressed beyond the rudiments of literacy and numeracy to include the appreciation of art and literature, a command of foreign languages, and at least a second-hand acquaintance with Western political and ethical writings; to have refined manners; and to adopt a discriminating attitude to personal possessions, so that objects were not acquired for their own sake, but for their symbolic associations as expressions of cultural values (whether those of connoisseurship, of intellectual ascetism, or of nationally coloured russkii byt).
Editions Of Lemaire’S Poetry
Authors: Armstrong Adrian
Published: November 2023

Many editions of Lemaire’s poetry were published with his Illustrations de Gaule et singularités de Troie, a major historiographical work in three volumes, printed frequently between 1511 and 1549. It is important to grasp this work’s content and political orientation at the outset, since the Illustrations and the material published along- side it each influences the ways in which the other may be read. A learned text, the Illustrations incorporates epic and romance elements, and may be interpreted morally; however, its principal concern is to retrace, through Troy and ultimately to Noah, the genealogy of the inhabitants of ‘Gaul’, and to assert this region’s cultural pre-eminence in Europe. ‘Gaul’ is an ambivalent term: it often denotes an area covering both France and the Austro Burgundian lands (whose praise thus reflects Lemaire’s desire for European unity in the face of Turkish threats), but elsewhere corresponds to France.
Verse Form and Function in Marina Tsvetaeva’ s Tsar’-devitsa
Authors: Smith G S
Published: November 2023

Written between 14 July and 17 September (NS)1920, and first published in parallel editions in Moscow and Berlin in 1922, Tsar’ -devitsa is the earliest and also the longest of Marina Tsvetaeva’s finished long poems. Subtitled Poema-skazka, it is based on three tales from Afanas’ev’s collection, and is arguably the most important single work of literature among the examples of Russian modernism that draw on folkloric sources, comparable in some respects to the early music of Stravinsky and the pictorial art of Goncharova, Larionov, and Malevich. In this work, Tsvetaeva exploits the freedom from verisimilitude that is offered by her fairy-tale subject matter to develop perhaps the most audacious treatment in all her poetry of transgressive sexuality. The oxymoron in the title of the work announces this concern, and the plot initially reverses conventional gender roles and then subjects them to a dramatic counter-reversal, using complex and dynamic modes of characterization and narration.1 The place occupied by the poem in the general history of reworkings of folk material in Russian literature has been specifically examined,2 as has its place in Tsvetaeva’s treatment ofliterary source material in general.
Introduction: Postcoloniality, Allegory, And The French Caribbean
Authors: Suk Jeannie
Published: November 2023

The rise of postcolonial studies has produced the commonplace that the term ‘postcolonial’ is problematic: it possesses an uneasily defined temporality, politics, and institutional location. That ‘postcolonial’ has myriad possible designations-among them a historical period, a political status, a geographical area, a critical stance, an intellectual development-contributes to the difficulty of its definition even in the face of its increasing adoption and usage.
Glissant, Détour, And History
Authors: Suk Jeannie
Published: November 2023

I have chosen in the previous two chapters to focus on two themes, crossing and allegory. I have suggested that both function as figural models for a certain paradox. Each chapter points to the expression of a desire for unity that depends on a principle of heterogeneity; the drive to regain a prior authenticity and an awareness of a break with the past; nostalgia and the renunciation of nostalgia.
Archetypal Returns: Hérémakhonon And Une Saison À Riha Ta
Authors: Suk Jeannie
Published: November 2023

Maryse Condé’s oft-cited biography compares suggestively with the intellectual and ideological development of Antillean postcoloniality. Indeed, Condé’s biography is a story of migration, and her oeuvre the product of the migrant’s ‘oblique gaze’. Born in Guadeloupe in 1937, she left at the age of 16 for Paris.
Representing Caribbean Crossings: Traversee De La Mangrove
Authors: Suk Jeannie
Published: November 2023

Since Aimé Césaire’s bold assertion in the Cahier that ‘ma bouche sera la bouche des malheurs qui n’ont point de bouche’ (88; ‘my mouth will be the mouth of those griefs which have no mouth’, 89), the individual as representative of the collectivity has been a central trope in Antillean literature.
Introduction
Authors: Wilson Blake
Published: November 2023

In a recent review of Reinhard Strohm’s book on Music in Late Medieval Bruges, one musicologist spoke for many of us when she expressed surprise in learning that ‘city waits routinely played mensural polyphony by the 1480s’, and that ‘the main incentive for polyphonic composition came from private endowments by lay members of confraternities and guilds’. These revelations surprise because they cut so strongly across the grain of traditional musicological historiography on late medieval and early Renaissance Europe. In this tradition, Europe at that time was divided into two musical classes, an elite and literate one associated with ecclesiastical and aristocratic institutions, and an oral, illiterate one associated with the lower classes.
The Professional Laudese
Authors: Wilson Blake
Published: November 2023

In florence, the development of the paid, professional laudese occurred primarily in the fourteenth century. The earliest Florentine laudesi statutes, from the last two decades of the thirteenth century, imply that laude were executed at this time by amateur singers chosen from among the company’s ranks. The 1284 statutes of the Company of San Gilio concerned with lauda-singing make no special distinction between the laudesi and other company members.
Ritual Space and Imagination
Authors: Wilson Blake
Published: November 2023

La UDA-singing was premised on a belief that was characteristic of devotional religion in early modern Europe, a belief in the ability of the sacred to ‘materialize’ itself. At root was a ‘sacramental view of the world, in which grace was expressed in material forms’, with the consequence that the power of the sacred could be imputed to objects and thereby transmitted to humans.
Decline and Transformation: The Sixteenth Century
Authors: Wilson Blake
Published: November 2023

During the tumultuous half-century between the fall of the Medici republic in 1494 and the stabilization of the Medici principate in the I 540s, traditional confraternal life in Florence collapsed under the pressure of constant political turmoil, long periods of suppression, and recurrent bouts of war and plague. The traditional laudesi devotion of the lay companies had been sustained into the early sixteenth century on the strength of bequests, and for the first time in over two centuries the companies found themselves unable to meet the terms of those bequests. Prolonged cessations of cultic activity and the destruction and confiscation of income properties and meeting places weakened the ancient devotion that, like the republic to which its fate was linked, had survived in its later years more in form than substance. When the lay companies began to revive after mid-century, it was under the twin aegis of the Counter Reformation Church and the Medici principate, which generated new ideals of piety and community that were hospitable to neither the form nor the substance of traditional laudesi devotion.
Instrumental Music, c.1300–c.1520
Authors: Brown† Howard Mayer , Polk Keith
Published: November 2023

Sources of information concerning medieval instrumentalists and their music are profoundly inconsistent. Most musicians did not belong to the elite layers of society and therefore did not attract much description or comment in the writings of the time. We must glean our information on their social contexts from scattered and disparate sources. Written collections of music can rarely tell us anything about the players or instruments; sources made for specific purposes such as keyboard performance are concentrated in a relatively narrow region and time-span (see also below). As regards archival records, very few documents give any details concerning freelance musicians, except perhaps when mentioning the instruments which were played. Members of court retinues or civic ensembles, on the other hand, are far better documented, as thousands of payroll records have survived (civic records, however, are more consistently preserved than those of the courts). Church records, preserved in great numbers, also occasionally mention the participation of instrumentalists.
Music Theory And Musical Thinking After 1450
Authors: Blackburn Bonnie J
Published: November 2023

The fifteenth century was a period of great ferment in musical ideas. It was the century in which a decisive change took place in the way music was generally composed, from the successive method, in which voices were successively added to a single part or a duo, to the method (sometimes termed ‘simultaneous’) in which the complex of voices was conceived as a whole—an innovation analogous to the discovery of perspective in art. Intimately linked with this change was a revolution in musical aesthetics. The judgment of the ear was allowed to take precedence over mathematical ratios. While never losing its original place in the quadrivium, music also came to be considered part of the trivium, justifying its place among the linguistic arts through its expressive power.
Salzburg (I): Origins (1756–1764)
Authors: Zaslaw Neal
Published: November 2023

In the middle of the eighteenth century the symphony (in the modern sense of the word) was still a new idea, a few decades old. Large numbers of them were written and some published, yet people in many places in Europe, not being near a city, court, cathedral, or monastery, never heard any symphonies. Joseph and Michael Haydn’s humble birthplace, Rohrau, was such a place, and these musical youngsters probably had not heard a symphony before going to Vienna to apprentice at Saint Stephen’s Cathedral as choirboys. At the other extreme from Rohrau were places renowned for the creation and dissemination of this young art-form. Such symphonic centres—London, Paris, Mannheim, Milan—often had an outstanding orchestra, a flourishing music-publishing industry, a ruler with an intense interest in music, or music-loving patrons in the form either of courtiers and their hangers on or of a well-to-do middle-class and aristocratic audience. Salzburg fell somewhere between the extremes represented by Rohrau and Mannheim: it was one of a number of lesser cities and minor courts where the symphonic tradition was received from elsewhere and cultivated assiduously.
Salzburg (II): Limbo (1770–1777)
Authors: Zaslaw Neal
Published: November 2023

For several centuries this archbishopric has served the cause of music well. They have a musical endowment there that amounts to 50,000 florins annually, and is spent entirely in the support of a group of musicians. The musical establishment in their cathedral is one of the best manned in all the German-speaking lands. Their organ is among the most excellent that exist: what a pity that it is not given life by the hand of a Bach! ….
Meanings for Mozart’s Symphonies
Authors: Zaslaw Neal
Published: November 2023

In the course of this study every opportunity has been sought to discover what Mozart’s contemporaries thought of his symphonies. The yield has been meagre. Symphonies were seldom discussed in detail in writings of the period, and, when mentioned, they were often dismissed with conventional epithets: ‘excellent’, ‘brilliant’, ‘new’, or ‘grand,’ ‘festive’, ‘noble’. A burst of loquacity was represented by the London critic moved to write of ‘a great and beautiful symphony, varied in all its movements’1—certainly a compliment and doubtless an accurate description, as far as it went. Nothing was written in Mozart’s lifetime that modern readers would recognize as serious criticism of his symphonies, and, apparently, no real analysis was attempted until Momigny’s examination of K. 550 in 1818.2 Reasons for this state of affairs have recently been proposed:
The church music
Authors: Arnold Denis
Published: November 2023

The obsession of the last hundred and fifty years with the music of Palestrina and his followers has almost completely obscured the complexity of church music in the later sixteenth century. Counter­Reformation church music has the same complications as the Counter-Reformation itself. The Roman Church could have within its ranks evangelists with such differing methods as the Oratorians of St Philip Neri and the Jesuits. Its church musicians contain equally diverse figures. Palestrina, Victoria, the Gabrielis, Lass us and the host of cathedral musicians seem at tinies to have little in common with one another.
Afterword
Authors: Arnold Denis
Published: November 2023

The quatercentenary of Monteverdi’s birth in 1967 prompted renewed interest in the study and performance of his music. Several conferences were held uniting an international body of Monteverdi scholars, including the ’Convegno Internazionale di Studi Monte-verdiani’ (Siena, 28-30 April 1967)—the proceedings appeared in the Rivista Italiana di Musicologia, ii/2 (1967)—and ’Claudio Monteverdi e ii suo tempo’ (Cremona, Mantua and Venice, 3-7 May 1968; again, Raffaello Monterosso’s edition of the proceedings was published).
Introduction
Authors: Mccoll Sandra
Published: November 2023

This comment by Robert Hirschfeld, Hanslick’s much younger contemporary, describes in colourful fashion the ushering in of what has been elsewhere described as ‘the classical age of Viennese music criticism’.3 Hirschfeld’s intention in so designating the ‘new art’ of the music feuilleton is, however, double-edged. On the one hand he seems to be praising Hanslick’s initiation of an unprecedented age of literary virtuosity in use of language and images; on the other hand, however, he implies that musical events gave rise to works in a different artistic medium, the music feuilleton, in which the same literary virtuosity which made it entertaining and enjoyable to read fed parasitically upon the hapless musical works and performances.
The Richness of Everyday Life
Authors: Mccoll Sandra
Published: November 2023

With the exception of July, when the Court Opera was closed and the concert season well and truly over, Vienna offered plenty of choice for a music critic, even more so in the coldest months of the year when audiences braved the elements to attend concerts. A look through the specialist music journals from November to April demonstrates the overwhelming amount and variety of musical activity in the city which was believed by its residents to be the centre of the musical universe. There were important anniversaries to keep, great men to bury, a resident opera company with a wide repertory, and a seemingly endless procession of singers, instrumentalists, and ensembles, some local, some visiting. All this went on in the capital of an empire where the protocols and rituals of civic life filtered through to all forms of public activity.
The Politics of Art in the Aftermath of Wagner
Authors: Mccoll Sandra
Published: November 2023

Thus Arnold Schoenberg in 1947, referring to the oft-mentioned and much-discussed rift between Wagner and Brahms, and between parties of their supporters, which accounted for much of expressed musical opinion in the Vienna of his youth. It is true that Wagner, having died in 1883, had become so established in the repertory of opera houses that he was by 1897 ‘part of the classical past, an aspect of history and, like Brahms, a vindicated classical master’.2 In addition to this, the only major work of Wagner not to have been performed in Vienna by 1897 was Parsifal, which was to remain the property of Bayreuth until 1913.
The ‘Canon’ in the Concert Hall
Authors: Mccoll Sandra
Published: November 2023

I admit that in matters musical it is quite difficult, indeed an impossibility, to demonstrate the justification of a favourable or unfavourable opinion to newspaper readers in black and white. One critic says calmly, ‘This quartet or this orchestral piece does not please me; it lacks unity, the art of coherence, contrast, development, etc.’ The other, filled with inspiration, holds the score in front of his eyes and contends, ‘But don’t you see how here, just after the introductory bars, the violins (triplets! D minor!!) intone the first subject? Then the woodwinds come and take it up; then the brass enters in contrary motion while the double basses build up their rumbling. Now a small subsidiary theme that leads forward to the second subject.
Prologue
Authors: Macneil Anne
Published: November 2023

Formed in imitation of the intellectual academies of northern Italy, the Gelosi took for their own this proud motto and the sign of the Janus face, which looks both back to the classical past, with its ancient harmonies of intoned poetry and mystical powers of representation, and forward to a new golden age of theatre in which women mount the stage with men to sing and speak with sibylline authority.
Behold, now there are Amazons of Learning
Authors: Macneil Anne
Published: November 2023

In 1601, the year the Conte de Fuentes petitioned Vincenzo Gonzaga to send Isabella Andreini and her company to Pavia to perform for the negotiators of the treaty between France and Savoy, the Duke of Mantua set out for Hungary on his third campaign against the Turks, and academic interests in Mantuan music and theatre came to a boil.