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Dafydd Sills-Jones, Jouko Aaltonen and Pietari Kaapa

Forthcoming
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Queering Freedom

Music, Identity and Spirituality: Anthology from North America, UK and South Africa

Edited by Karin Hendricks and June Boyce-Tillman

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Performance of Identity of Polish Tatars

From Religious Holidays to Everyday Rituals

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Barbara Pawlic-Miskiewicz

The book presents the Tatar community in a new perspective, with its rituals and strategies that allow it to maintain the identity and distinguish itself, using categories of performance and performativity which – despite problems with normative definitions – have permanently entered a dictionary of culture analysis. The author describes and analyses Tatar religion-based customs and traditions, key moments of human life, as well as selected aspects of everyday life, which may be considered within the category of performances of identity. Tatar performances are deeply rooted in religion: Islam is a fundamental part of their identity and element of distinction. Following and performing the religious rules is strictly connected with the notions of ethnic identity and self-identification. Religious performances also serve them to preserve the figure of a Muslim Tatar.

This book is a unique work documenting the life of the Tatar ethnic minority.

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Pictures of the Mind

Surrealist Photography and Film

Ramona Fotiade

Pictures of the Mind is the first integrated study of Surrealist photography and film, assessing the impact of early experimental practice and theoretical discourse on prominent post-war trends in art house cinema. Roland Barthes’s interpretation of the photographic image, alongside Jacques Derrida’s concepts of spectrality and trace, underscore an exploration of the recurrent references to the phantomatic aspect of photography and film in Surrealist theoretical writings and practice. The analysis uses Derrida’s account of the uncanny to shed light on the Surrealist conception of photographic and film images as mental constructs, or pictures of the mind, rather than mere visual representations. This leads to a consideration of the similarities between the Surrealist conception of beauty as fixed-explosive and Gilles Deleuze’s theory of the time-image as applied to Luis Buñuel’s films. Ultimately, the impact of Surrealism on post-war cinema is assessed as part of a wider consideration of the status of photographic and filmic images in the age of digital cinema. The elaboration of an aesthetics of spectrality in early Surrealism is shown to have had lasting implications for a range of post-war filmmakers such as Chris Marker, Maya Deren, Nelly Kaplan, Federico Fellini, Andrei Tarkovsky, Jan Svankmajer, Akira Kurosawa, Alejandro Jodorowsky, Guillermo del Toro, Guy Maddin, Terry Gilliam and David Lynch.

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Burkhard-Interpretationen

Symposium 30./31. Oktober 2015

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Edited by Dominik Sackmann

Willy Burkhard (1900–1955) gehörte spätestens seit der Uraufführung des Oratoriums «Das Gesicht Jesaias» (1936) zu den zentralen Komponisten der Schweiz. Rund hundert Werke umfasst sein Œuvre: Kammer-, Klavier- und Orchestermusik. Zudem etablierte er sich mit seiner Orgel- und Chormusik als Komponist für die Kirche. Überschattet wurde sein Leben von einem Jahrzehnt fortwährender Krankheit, die ihn isolierte und zum Aussenseiter stempelte. Wurden die jeweils neu entstandenen Werke um 1950 aufmerksam verfolgt, so ist es seit seinem Tod still um ihn geworden. Höchste Zeit also, um aus verschiedenen Perspektiven Blicke auf sein Werk, seine Persönlichkeit, seine Bedeutung, sein Komponieren, auf einzelne Kompositionen und deren Entstehungsgeschichte, aber auch auf die Aufführungspraxis seiner Zeit zu werfen. Im Zentrum steht die Frage nach der Einordnung von Burkhards Schaffen in die Musikgeschichte, zwischen neoklassizistischen Tendenzen und Zwölftonmusik. Ergänzt werden die Vorträge des Zürcher Symposiums vom Oktober 2015 um Aufsätze zu zwei wichtigen Zeitgenossen: Adolf Brunner und Stefi Geyer.

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Orpheus und die Musik

Metamorphosen eines antiken Mythos in der europäischen Kulturgeschichte

Hermann Jung

Die Macht der Musik ist ein in den europäischen Kulturen von Anbeginn an bis heute faszinierendes Phänomen. Sie ist Thema zahlreicher Mythen, Sagen und Legenden. «Macht der Musik» zeigt sich ebenso im Positiven wie im Negativen, von Arion über König David, Odysseus und die Sirenen bis zum Rattenfänger von Hameln. Doch keiner kann es mit Orpheus aufnehmen. Er ist Vorbild und Urbild für die Macht der Musik, wie diese Studie an ausgewählten Beispielen aus theoretischen Schriften von der Antike bis in die Moderne, aus Dichtung und Bildkunst wie aus musikalischen Kompositionen durch die Jahrhunderte belegt und kommentiert.

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Edited by Jacques Chamay

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Claire MacNeill

Applied theatre is a continually growing and diversifying field. This book is the first of its kind to examine the use of applied theatre with looked-after children. It interrogates the experiences of young people in care in the UK and the potential of applied theatre as a liberation tool within these settings. Informed by twelve years of practice-based research, the book examines how a central pedagogy was initially developed with young people and front-line staff within a residential children’s home. The author then critiques the ways in which this pedagogy was adapted and expanded to work with other «looked-after», misrepresented and marginalised young people in related settings.

The research presented here describes a unique journey through care homes, children’s prisons and inner-city estates, exploring the possibility of reclaiming childhoods through theatre practice. It asks the questions: what does it mean to be «looked after» and «cared for» by an institution? What are the challenges of developing liberatory practice within rigid and homogenising frameworks? And how can theatre forge radical creative spaces within a network of power and control?

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Edited by Bożena Muszkalska

This book draws attention to the reception of Oskar Kolberg’s folklorist’s work outside of Poland. It also presents the work of other scholars active in Eastern Europe from the nineteenth century to the present day, many of them poorly known, despite their lofty achievements. The contributions by authors from Lithuania, Belarus, Ukraine, Russia, Slovakia and Poland reflect on how Kolberg’s work is being continued by scholars today and how the musical repertoire that he recorded is functioning. This book unites the results of the international conference «The Kolbergs of Eastern Europe», organised by the College of Eastern Europe and the Institute of Musicology of the University of Wrocław.

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Edited by Janina Falkowska and Krzysztof Loska

This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.