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Cinema in China prior to WWI

A Case Study of West-Eastern Culture Transfer

Meimei Xu

This book looks at the earliest history of exhibiting firms in China at the turn of the
century. The spread of cinema in China as a continuation of the lantern tradition is
contextualized and conventionalized in the late Qing sociopolitical milieu, featuring
a strong foreign monopoly and regional imbalance. However, the key element for
cinema’s development in China is Chinese audience per se.

“The book has produced something truly remarkable and tremendous.”
                                                                                                     —Frank Bren

“The work offers a lot of new insights into the history of the cinema in China. Though
the film business was brought from abroad to the mainland, the candidate was never
nationalistic in her approach to the phenomenon of foreign entertainment in China.”
                                                                                                     —Wolfgang Kubin

“The author painstakingly combed through a large number of historical newspapers,
especially English-language newspapers published both in and outside China, and
pieced together a convincing picture of the earliest history of Chinese cinema.”
                                                                                                       —Xuelei Huang 

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Kirchenmusik in Mailand von 1743 bis 1783

Biritualität im Kontext der ambrosianischen und römischen Liturgie

Christoph Riedo

Der Band untersucht das Verhältnis zwischen Liturgie und Musik im birituellen Mailand im 18. Jahrhundert. Die Rituszugehörigkeit einer Kirche bestimmte ihre liturgische Musik. Während in den meist den römischen Ritus zelebrierenden Klöstern ein ausgelassener Theaterstil mit üppigem Orchesterpart vorherrschte, war den ambrosianischen Bistumskirchen ein auf Textverständlichkeit ausgerichteter a cappella-Stil eigen. Letzterer stand im Geiste der katholischen Aufklärung, des Tridentinums und der Dekrete Carlo Borromeos von 1565. Der Autor geht der Frage nach, wie der jeweilige Ritus, d.h. der ambrosianische wie auch der römische, figuralmusikalisch vertont wurde und wie sich  die Biritualität insgesamt auf die liturgische Musik Mailands auswirkte.
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Edited by Dany Sandron, Camilla Ceccotti and Emanuele Gallotta

Entre les XIIe et XIIIe siècles, l’architecture gothique se répand dans toute l’Europe et entre en contact avec les traditions constructives locales. La réception de modèles existants et l’invention de nouvelles expressions artistiques se conjuguent alors pour donner naissance à des œuvres inédites, créées dans des contextes historiques, géographiques et culturels différents par rapport au milieu français d’origine.

Les travaux rassemblés dans ce volume étudient l’impact de ce phénomène au niveau européen. Après avoir examiné le rôle des cathédrales et des abbatiales dans la propagation de l’Opus Francigenum en France et en Italie, dans le Latium méridional, l’ouvrage analyse la persistance du gothique durant la Première Renaissance à travers les exemples de Pérouse et Poitiers, avant de s’achever sur un panorama de grandes restaurations à l’époque contemporaine.

Impliquant une nouvelle génération de chercheurs, ce livre s’attache à ouvrir un dialogue interdisciplinaire. L’architecture se révèle être un véritable espace de rencontre d’idées, d’expérimentations méthodologiques et de nouvelles approches scientifiques, qui n’attendent finalement qu’une indispensable confrontation internationale.

Avec des contributions d’Émilie Alexandre, Camilla Cannoni, Camilla Ceccotti, Mathias Dupuis, Emanuele Gallotta, Rafael-Florian Helfenstein, Didier Kreczman et Giuliana Mosca.

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Aikaterini Delikonstantinidou

A compelling contribution to the largely understudied field of Latinx theatre, this book unpacks new developments in the Latinx and American cultural landscape registered by contemporary plays inspired and based on Greek tragic myths. It examines dramatic revisions of the myths of Medea, Oedipus, Electra, and Iphigenia by notable playwrights Carlos Morton, Cherríe Moraga, Luis Alfaro, and Caridad Svich for what they reveal about the increasingly complex, diverse, and globalized Latinidades of the post-Civil Rights Movement era. Through its discussion of six Greek-inflected mythoplays, the book brings to light emergent and transhemispheric dimensions taken on by mestizaje; the latter construed as an ethos, reality, and discourse central to any conception of Latinidad, however plural. Mestizaje is shown to be tuned to a tragic key in the theatrical corpus of works on which the analysis focuses, and it is to this tragic key that the book attributes the works’ singular sociocultural and political import. Emphasis is placed on the tragic mode as a rich source and potent ally in the plays’ attempt at configuring and applying a distinct kind of radical politics and a healing function while targeting, principally but not exclusively, Latinx communities of/in crisis—including barrio, LGBTQ+, and borderland communities. By aligning the plays’ decolonizing impulse with the productive question mark of the tragic, the book calls attention to the brisk energy that the tragic myth’s reception by Latinx theatre infuses into the afterlife of the tragic, as it breaks new, syncretic ground in the latter’s reception history and contemporary rethinking.

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Third Digital Documentary

A Theory and Practice of Transmedia Arts Activism, Critical Design and Ethics

Anita Wen-Shin Chang

This book offers a theory and methodology of transmedia arts activism within the technocultural and sociopolitical landscape of expanded documentary production, distribution, reception and participation. Through a detailed analysis of the author’s transmedia project on indigenous and minority language endangerment and revival that consists of the feature-length documentary Tongues of Heaven and the companion web application Root Tongue: Sharing Stories of Language Identity and Revival, she reveals the layers and depths of a critical arts practice when confronted with complex sociopolitical issues while working with multiple communities across territorial/national boundaries. In the context of the growing field of transmedia documentaries, the author discusses the potentials and benefits of a critical design practice and production ethics that can transform this field to pilot new collaborations in documentary and digital media platforms towards a third digital documentary.
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In the Footsteps of Harlequin and Pulcinella

Cultural Mobility and Localness of Theatre

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Ewa Bal

Edited by Jan Burzyński

The author takes readers on a journey in the footsteps of Harlequin and Pulcinella, two well-known commedia dell’arte masks, to show the historically fluctuating way in which they participated in building “Italianness” in the eyes of foreign theatre audiences (the history of the Harlequin mask in France, Italy and Poland in the XVII and XVIII century) and local ones (the history of the Pulcinella mask, or the Italian dialect theatre of the nineteenth and twentieth centuries, which historians, at a certain point, erased from the process of the creation and construction of the Italian national community). Using modern performance studies methodologies, this book effectively cuts the distance between past and present theatre practices, opening new prospects for an active and clearly situated epistemology for theatre studies, cultural studies, media studies, and performance studies.

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Schweizer Jahrbuch für Musikwissenschaft- Annales Suisses de Musicologie- Annuario Svizzero di Musicologia

Schweizer Jahrbuch für Musikwissenschaft- Annales Suisses de Musicologie- Annuario Svizzero di Musicologia Neue Folge / Nouvelle Série / Nuova Serie- 37 (2017)- Redaktion / Rédaction / Redazione: Luca Zoppelli

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Edited by Luca Zoppelli

Der vorliegende Band Schweizer Jahrbuch für Musikwissenschaft empfängt (in Übereinstimmung mit der aktuellen redaktionellen Linie der Zeitschrift) Arbeiten von aktiven schweizerischen und ausländischen Forschern. So wird eine Vielschichtigkeit, nicht nur linguistisch, sondern auch kulturell und methodologisch garantiert, die die wunderbare Vielfalt der Schweizerischen Eidgenossenschaft reflektiert.

Im Jahrbuch Nr. 37 berühren die Essays Themen mit antropologisch-kulturellen Ansätzen zur Archivforschung, die vom Mittelalter bis ins 20. Jahrhundert und von der Sakralmusik zur Instrumentalmusik reichen. Sie legen den Schwerpunkt vor allem auf die symbolischen Mechanismen der Parodie in der gesungenen Liturgie (Therese Bruggisser-Lanker), auf die kompositorischen Gründe der Nichtvollendung der 7. Sinfonie von Schubert (Yusuke Takamatsu) und auf die ästhetische Autonomie der Kunst in Krisenzeiten dank den Vergleichen von verschiedenen künstlerischen Erfahrungen in der Mitte des 19. Jahrhunderts (Klaus Heinrich Kohrs). Die Briefe des berühmten Komponisten aus der französischen Schweiz, Gustave Doret, an wichtige französische Musiker (Delphine Vincent) sind in der neuen Dokumentenserie publiziert.

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Stravinsky

His Thoughts and Music

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Alicja Jarzębska

This book is an attempt at a new interpretation of Stravinsky’s thoughts about music and art, an interpretation made in dialogue with the philosophy of new music and 19th-century artistic ideas. It is also a proposal for a new method of analysing the construction of his musical masterpieces (for example a proposal of new formal sound-units: partons with perceptual invariance), a method in-spired by research into cognitive psychology. Furthermore, in the analysis of Stravinsky’s music, the author emphasises its connection with the Eastern and Western traditions of European culture and links with Plato’s triad of values.
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Cosmos and Camus

Science Fiction Film and the Absurd

Shai Tubali

Over the last two decades, philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus’ philosophy of the absurd, however, has almost never been employed as a constructive perspective that can reveal unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe.

Cosmos and Camus endeavors to set foot in this uncharted terrain. Its first part introduces the main components of Camus’ absurdity so that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, the book delves into an indepth analysis of two first-encounter films (Contact and Arrival) and two A.I. films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus’ concept of absurdity.

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The Mimetic Strand in the Cello Literature

Within the Context of History, Instrument Design, Iconography and Cello Performance

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Urszula Mizia

This book is the first integral study of the history of imitative or co-creative artistic work that has led to the creation of cello transcriptions and arrangements. Of an interdisciplinary character, it explores the views that have shaped approaches to the art of cello performance and describes the role of cello transcriptions and the development of instrument making. The book also addresses issues related to philosophy, history of aesthetics and visual arts, including iconography presenting historical images of the cello. The theoretical part contains definitions and systematics that make it possible to categorise the vast amount of transcriptions, as well as descriptions and suggested recordings of a selection of those transcriptions.