Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)
Motion picture production, distribution, exhibition and reception has always been a transnational phenomenon, yet East Germany, situated at the edge of the post-war Iron Curtain, separated by a boundary that became materialized in the Berlin Wall in 1961, resembles nothing if not an island, a protected space where film production developed under the protection of government subsidy and ideological purity. This volume proposes on the contrary that the GDR cinema was never just a monologue. Rather, its media landscape was characterized by constant dialogue, if not competition, with both the capitalist West and socialist East. These thirteen essays reshape DEFA cinema studies by exploring international networks, identifying lines of influence beyond national boundaries and recognizing genre qualities that surpass the temporal and spatial confines. The international team of film specialists present detailed analyses of over fifty films, including fiction features, adaptations of literary classics, children's films, documentaries, and examples from genres such as music, sci-fi, Westerns and crime films. With contributions by Seán Allan, Hunter Bivens, Benita Blessing, Barton Byg, Jaimey Fisher, Sabine Hake, Nick Hodgin, Manuel Köppen, Anke Pinkert, Larson Powell, Brad Prager, Marc Silberman, Stefan Soldovieri, and Henning Wrage.
COVID-19 is the most significant global crisis of any of our lifetimes. The numbers have been stupefying, whether of infection and mortality, the scale of public health measures, or the economic consequences of shutdown. Coronavirus Politics identifies key threads in the global comparative discussion that continue to shed light on COVID-19 and shape debates about what it means for scholarship in health and comparative politics. Editors Scott L. Greer, Elizabeth J. King, Elize Massard da Fonseca, and André Peralta-Santos bring together over 30 authors versed in politics and the health issues in order to understand the health policy decisions, the public health interventions, the social policy decisions, their interactions, and the reasons. The book’s coverage is global, with a wide range of key and exemplary countries, and contains a mixture of comparative, thematic, and templated country studies. All go beyond reporting and monitoring to develop explanations that draw on the authors' expertise while engaging in structured conversations across the book.
"A critical biography far surpassing the previous ones."--Times Higher Education Supplement "There are to be sure many writers whose biographies are more interesting than their fiction but Hesse is not one of these. He led a long and sometimes eventful life with marital tensions, traveL controversy, crises, even some thoughts of suicide and a period of time as a student in a home for retarded and unmanageable. In addition, there was his search which led him through the culture and arts of West and East, his views of politics and society, of psychology and philosophy. The difference between Hesse and other writers is that virtually every shred and patch of his life was brought into his writing, his fiction particularly. 'He had to write about himself and there is little of what he wrote that is not confessional in form and therapeutic in function.' Autobiography is the very matter of his work. Mileck's contribution is to extend and fill out the evidence of his life, his psychoanalysis, his drive toward self-realization which was the very engine of his being, to show the raw material and thus to invite readers to see how it was transmuted, transfigured, fantasized, poeticized, symbolized."--Los Angeles Times "Hesse was a prolific author for some 60 years, and his mind drew everything it contemplated into his private wars between flesh and spirit. objectivity and subjectivity, the longings for society and isolation. No one is better qualified to disentangle this abundance than Mileck, compiler of the huge two-volume Hesse bibliography. For completeness, then, no biography in English compares." --Kirkus Reviews "Mileck provides his own translations of the German quotations from Hesse's works, and the eight interpretive chapters are thoroughly indexed, making the work readily accessible to researchers and students concerned with specific Hesse questions and themes. This very readable book also contains a number of exceptional photographs, which, together with Mileck's fervor and understanding of the author, help create a living image of Hesse the man and the artist."--Choice "Professor Mileck . .. brings to his task an acquaintanceship with Hesse's published and unpublished writings .. . which borders on omniscience. This is a literary biography which concentrates on the works and looks at the life of its subject briefly and always in relation to its involvement with the works . . . [This] is true scholarship, which does not make the book less readable and accessible to the general public. . . . a solid and valuable book which should make it easier . . . to bring [Hesse] back into the orbit of serious appreciation in the English-speaking world." --Books and Bookmen
"Memory has fueled merciless, violent strife, and it has been at the core of reconciliation and reconstruction. It has been used to justify great crimes, and yet it is central to the pursuit of justice. In these and more everyday ways, we live surrounded by memory, individual and social: in our habits, our names, the places where we live, street names, libraries, archives, and our citizenship, institutions, and laws. Still, we wonder what to make of memory and its gifts, though sometimes we are hardly even certain that they are gifts. Of the many chambers in this vast palace, I mean to ask particularly after the place of memory in politics, in the identity of political communities, and in their practices of doing justice."—from the Preface W. James Booth seeks to understand the place of memory in the identity, ethics, and practices of justice of political communities. Identity is, he believes, a particular kind of continuity across time, one central to the possibility of agency and responsibility, and memory plays a central role in grounding that continuity. Memory-identity takes two forms: a habitlike form, the deep presence of the past that is part of a life-led-in-common; and a more fragile, vulnerable form in which memory struggles to preserve identity through time—notably in bearing witness—a form of memory work deeply bound up with the identity of political communities. Booth argues that memory holds a defining place in determining how justice is administered. Memory is tied to the very possibility of an ethical community, one responsible for its own past, able to make commitments for the future, and driven to seek justice. "Underneath (and motivating) the politics of memory, understood as contests over the writing of history, over memorials, museums, and canons," he writes, "there lies an intertwining of memory, identity, and justice." Communities of Memory both argues for and maps out that intertwining.
The first full-length study to bring together the fields of Health Humanities and German studies, this book features contributions from a range of key scholars and provides an overview of the latest work being done at the intersection of these two disciplines. In addition to surveying the current critical terrain in unparalleled depth, it also explores future directions that these fields may take. Organized around seven sections representing key areas of focus for both disciplines, this book provides important new insights into the intersections between Health Humanities, German Studies, and other fields of inquiry that have been gaining prominence over the past decade in academic and public discourse. In their contributions, the authors engage with disability studies, critical race studies, gender/embodiment studies, trauma studies, as well as animal/environmental studies.
The composers included in Volume 4 of "Women Composers: Music Through the Ages, Vocal Music," were born between 1700 and 1799. Some of the women found in Volume 4 are also represented in Volumes 3 (keyboard) and 5 (large and small instrumental ensembles). Unlike most of the composers in Volumes 1 and 2 who belonged to religious orders or noble families, those in the 18th-century volumes are of secular background. Many are members of musical families that include mothers, daughters, wives, and sisters-in-law of other composers and musicians. The women represented in this volume performed and composed in a variety of vocal forms and genres. Volume 4 includes sixty-five works by twenty-three composers from eleven countries: the American colonies, England, Ireland, Scotland, France, Italy, Germany, Austria, Poland, the Netherlands, and Martinique. Two composers lived in the American colonies. Maria Eicher reached a position of prominence within Georg Conrad Beissel's Ephrata Cloister. Five main collections of music manuscripts were created there; one of the most important, known as the "Turtel-Taube" (Turtle Dove), contains twelve hymns by Maria Eicher. The colonies also became the home of Mary Ann Wrighten Pownall, nee Matthews, one of the group of English actress-singers who composed songs. After a successful career under her first married name (Wrighten) in England she came to America where she was one of the first female published songwriters. As a performer she also participated in some of the earliest American performances of opera and oratorio excerpts from works of Handel, Haydn, and Gluck. About half of her surviving songs were published in England as Mrs. Wrighten; fiveAmerican songs are under the name Mrs. Pownall. One of each is included in this volume. The Duchess of Devonshire, Georgiana Cavendish, nee Spencer, was a noblewoman of high rank who lived at the center of a circle of writers, artists, and politicians. Her only extant music, the songs "I Have A Silent Sorrow Here" (written for a play by R. B. Sheridan) and "Sweet Is the Vale," were reissued in many versions and arrangements both in Great Britain and America, evidence of their great popularity. Margaret Essex is known today only by her published works, which span a twelve-year period at the turn of the 19th century. They comprise thirteen publications, all of them chamber works for domestic use. Mrs. Jordan, nee Dorothea Bland, was a successful actress-singer who made her debut in Dublin and spent most of her career in London. She also composed songs, including one of the most popular songs in the English language, "The Blue Bell of Scotland." This version is thought to be the earliest available. The most published of the English singer-composers was Miss Abrams. She was from a family of musicians of Jewish descent. Her sisters, Theodosia and Eliza, were well-known singers and performed in concerts with her. Abrams appeared with Haydn and in the series organized by Johann Peter Salomon. Her publications include songs in both English and Italian, examples of which are included. Haydn served as a connection among several of the 18thcentury composers in this volume. Composer-poet, Anne Home Hunter, wrote texts for Haydn for some of his finest songs. She was an early figure in the Scottish national song movement of the late-18thcentury, and also wrote several texts to pre-existingmelodies. Haydn taught Marianna Martines daily for three years and received free board in Vienna from her family in exchange for these lessons. She acquired the skill of" bel canto" singing and composition from Nicolo Porpora, and absorbed the early Classical style through the teaching of Johann Adolf Hasse. Martines composed over 200 works, and of these, sixty-nine are known to have survived. "La tempesta" (1778), is an Italian-style chamber cantata comprised of two recitatives and two arias for soprano and ensemble. One aria is reproduced here. German and Austrian born composers included in Volume 4 are Madame Mara, Sophie Westenholz, Louise Reichardt, Emilie Zurnsteeg, and Bettine von Arnim. Mara, the first German opera star, was important primarily as a great singer. Like many famous singers, she published a few works which became popular partly on the strength of her fame as a performer. She traveled to Vienna, Paris, and London, where she was particularly noted for her brilliant performances in Handel's works. She also appeared in Salomon's and other subscription concerts in the 1790s. Say Can You Deny Me illustrates the English popular song of the 1790s. The version represented here has the type of orchestral accompaniment that the song would have had in theatre performances or subscription concerts. Sophie Westenholz was a court musician and composer for over forty years, and had great success as a singer and pianist. Although some of her music was published in her lifetime, most of it exists only in manuscript. Her work as a composer has received little previous recognition. She contributed to the development of the late-18thand early-19th century lied at a time when artsongs for solo voice and piano were becoming distinguished from the folksong style of writing. Her three songs illustrate many characteristics of early Romanticism. Louise Reichardt was the daughter of two musicians, Johann Friedrich Reichardt and Juliane Reichardt, nee Benda (see Vol. 3). Her father took scant interest in her musical education, which was casual and unorganized. Nonetheless, her creative talents were so outstanding that a number of her songs were included in a collection from 1800 titled: "Deutsche Lieder von Johann Friedrich Reichardt und dessen Tochter Luise Reichardt "(German songs by Johann Friedrich Reichardt and his daughter Luise Reichardt). Her contributions to this collaborative effort, identified by her initials, were the first of over ninety published vocal compositions which appeared during her lifetime. They were favorably received by critics and the public. Emilie Zumsteeg was born in Stuttgart in 1796, the daughter of Johann Rudolf Zumsteeg (1760-1802) the well-known composer of opera, lieder, and ballads. She was beloved in Wurttemberg as a singer, pianist, conductor, and extraordinary teacher. She was responsible for preparing the choruses for many first performances in Stuttgart of the great oratorios of Bach, Handel, Haydn and Mendelssohn. Emilie Zumsteeg's compositions included lieder for voice and piano or voice with guitar, music for solo piano, choral settings for three, four, and six voices, a cantata, an overture for orchestra, and variations for flute and harp. As a composer Zumsteeg may be described as a bridge between the early German Romantic composers, including her father Johann Rudolf Zumsteeg, Conradin Kreutzer, Friedrich Silcher, andFranz Schubert, and the Romantic school of Robert Schumann. Bettine von Arnim, while known primarily as an author of novels based on her correspondence with prominent Romantic figures such as Johann Wolfgang von Goethe, was also a composer. As a young woman she pursued music studies and set to music texts of Goethe, Achim von Arnim (whom she married in 1811), and her brother, Clemens Brentano. Fewer than a dozen songs were published during her lifetime, but her manuscripts attest to a wealth of musical ideas. Some songs have appeared in heavily edited versions. Corona Schroter, born in Poland into a musical family, spent a significant part of her life in Germany. A virtuosa singer and actress, her close association with Goethe led her to set some of his poetry for her lieder. Also born in Poland, Maria Szymanowska (born Marianna Agata Wolowska), was a virtuosa pianist and composer of over 100 pieces, mostly for the piano. Szymanowska's twenty-two songs based on sentimental or heroic texts belong to the genre of the romance. Her works appear in all of the eighteenth-century volumes in this series. Marie Teresa Agnesi, the only Italian woman of this period known to have composed opera seria, is represented by an accompanied aria in this volume and by a keyboard sonata in Volume 3. Although Isabella Colbran was born in Spain, she spent much of her successful operatic career in Italy. Four of her songs are presented here. Dutch composer Josina Anna Petronella van Boetzelaer, nee van Aerssen, closely associated with the musical royalty in the House of Orange, concentrated on writing vocal music. Her opus 2 is dedicated to Maria Teresa Agnesi. The young Parisian musician, Sophie Gail(nee Edme-Sophie Garre), impressed family friends with her talents as a pianist, singer, and composer, as she would later impress the French musical milieu. She was a successful performer and composer of songs and opera. Born in Martinique, Pauline Duchambge was a French Creole pianist, singer, and composer. She studied composition in Paris with Daniel Auber, Luigi Cherubini, and Jan Ladislav Dussek. Duchambge wrote over 300 songs, setting many texts by the poet Marceline Desbordes-Valmore, who was her lifelong friend. Madame Louis, French pianist and composer, published six keyboard sonatas and a two-act opera comique. Several arias from this opera appear here; the "Overture" is in Volume 5. A leading singer with the "Academie royale de musique" (the Paris Opera), Henriette-Adelaide de Villars, dite Beaumesnil, may have written music during her singing career. However, it was only after her retirement from the stage that her compositions were actually performed and published. Between 1781 and 1792, she wrote at least three short operas and an oratorio, of which only the score of her one-act opera "Tibulle et Delie "appears to have survived. Amelie-Julie Candeille, an actress, singer, playwright, pianist, harpist, composer, novelist, and music teacher made her debuts at the Paris Opera and Comedie Francaise while in her teens. She performed her own piano concerto at the "Concert Spirituel." Her first play w
