In a remote corner of Connemara, a reclusive American lives out his days, waiting for the inevitable moment when his past catches up with him. Now a photojournalist, Dallas Green’s life has led him from the farmlands of California to Pinochet’s Chile, to the boulevards of Paris, to Berlin at the moment of reunification, and finally to the West of Ireland. Searching for Cunégonde continues the story of the protagonist of Maximilian and Carlotta Are Dead and Lautaro’s Spear against a historical backdrop spanning the dawn of the 1980s to the early 1990s. Will he finally put to rest the ghosts of his past, particularly the missing friend who has remained an obsession since losing track of him years earlier? A lost soul doing his best to find his way through the latter twentieth century, Dallas is witness to a tumultuous world where the only thing that is permanent is change. Throughout it all, he is always drawn back to the woman he cannot forget and with whom he knows he is meant to be.
Candide by Voltaire from Coterie Classics All Coterie Classics have been formatted for ereaders and devices and include a bonus link to the free audio book. “Do you believe,' said Candide, 'that men have always massacred each other as they do to-day, that they have always been liars, cheats, traitors, ingrates, brigands, idiots, thieves, scoundrels, gluttons, drunkards, misers, envious, ambitious, bloody-minded, calumniators, debauchees, fanatics, hypocrites, and fools?' Do you believe,' said Martin, 'that hawks have always eaten pigeons when they have found them?” ― Voltaire, Candide Candide is a young man who is raised in wealth to be an optimist but when he is forced to make his own way in the world, his assumptions and outlook are challenged.
Translated and illustrated by Nicolae Sfetcu. A philosophical tale, a story of a journey that will transform the eponymous hero into a philosopher. An important debate on fatalism and the existence of Evil. For a long time Voltaire has been fiercely opposed to the ideas of the philosopher Leibniz concerning God, the "principle of sufficient reason," and his idea of "pre-established harmony." God is perfect, the world can not be, but God has created the best possible world. Evil exists punctually, but it is compensated elsewhere by an infinitely great good. Nothing happens without there being a necessary cause. An encouragement to fatalism. Voltaire opposes to this optimism that he considers smug, a lucid vision on the world and its imperfections, a confidence in the man who is able to improve his condition. In Candide, Voltaire openly attacks Leibnizian optimism and makes Pangloss a ridiculous defender of this philosophy. Criticism of optimism is the main theme of the tale: each of the adventures of the hero tends to prove that it is wrong to believe that our world is the best of all possible worlds.
In a remote village on the Dutch-German border, a young Catholic woman named Cunegonde tries to kidnap a baby to prevent it from being baptized in a Protestant church. When she is arrested, fellow Catholics stage an armed raid to free her from detention. These dramatic events of 1762 triggered a cycle of violence, starting a kind of religious war in the village and its surrounding region. Contradicting our current understanding, this war erupted at the height of the Age of Enlightenment, famous for its religious toleration. Cunegonde’s Kidnapping tells in vivid detail the story of this hitherto unknown conflict. Drawing characters, scenes, and dialogue straight from a body of exceptional primary sources, it is the first microhistorical study of religious conflict and toleration in early modern Europe. In it, Benjamin J. Kaplan explores the dilemmas of interfaith marriage and the special character of religious life in a borderland, where religious dissenters enjoy unique freedoms. He also challenges assumptions about the impact of Enlightenment thought and suggests that, on a popular level, some parts of eighteenth-century Europe may not have witnessed a “rise of toleration.”
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little opera". Attempts to emulate Offenbach's success in France and abroad generated other national schools of operetta and helped to establish the genre internationally, in Spain, in England, and especially in Austria Hungary. Here it inspired works by Franz von Suppé and Johann Strauss II (the Golden Age), and later Franz Lehár and Emmerich Kálmán (the Silver Age). Viennese operetta flourished conterminously with the Habsburg Empire and the mystique of Vienna, but, after the First World War, an artistically vibrant Berlin assumed this leading position (with Paul Lincke, Leon Jessel and Edouard Künnecke). As popular musical tastes diverged more and more during the interwar years, with the advent of new influences—like those of cabaret, the revue, jazz, modern dance music and the cinema, as well as changing social mores—the operetta genre took on new guises. This was especially manifested in the musical comedy of London's West End and New York's Broadway, with their imitators generating a success that opened a new golden age for the reinvented genre, especially after the Second World War. This source book presents an overview of the operetta genre in all its forms. The second volume provides a survey of the national schools of Germany, Spain, England, America, the Slavonic countries (especially Russia), Hungary, Italy and Greece. The principal composers are considered in chronological sequence, with biographical material and a list of stage works, selected synopses and some commentary. This volume also contains a discography and an index covering both volumes (general entries, singers and theatres).
French novels such as "Madame Bovary" and "The Stranger" are staples of high school and college literature courses. This work provides coverage of the French novel since its origins in the 16th century, with an emphasis on novels most commonly studied in high school and college courses in world literature and in French culture and civilization.
Leonard Bernstein is a household name. Most know him for his classic musical reworking of Shakespeare’s Romeo and Juliet as Broadway’s West Side Story. But Bernstein accomplished so much more as a composer, and his body of work is both broad and varied. He composed ballets (Fancy Free, Facsimile, Dybbuk), operas (Trouble in Tahiti, Candide, A Quiet Place), musicals (On the Town, Wonderful Town), film scores (On the Waterfront), symphonies, choral works, chamber music pieces, art songs, and piano works. In Experiencing Leonard Bernstein: A Listener’s Companion, Kenneth LaFave guides readers past Bernstein’s famously tortured personal problems and into the clarity and balance of his Serenade after Plato’s Symposium for Violin and Orchestra, the intense drama of his music for On the Waterfront, the existential cosmography of his three symphonies, and his vibrant works for the musical stage. Perhaps the most famous American classical musician born in the twentieth century, Bernstein divided his time between c
The dean of Broadway musical directors examines the dynamics of how the book, music and lyrics work together to create such hits as My Fair Lady, Fiddler on the Roof, Guys and Dolls, Hair, Pal Joey, West Side Story, Company, South Pacific, Threepenny Opera and Porgy and Bess. Howard Kissel, chief theater critic for the New York Daily News, extends the reach of Engel's subjects by bringing them up to date with commentary on such shows as A Chorus Line, Nine, Sunday in the Park with George, Rent, Working and Falsettos. Kissel offers a thoughtful history on how musical theater has evolved in the three decades since Engel wrote Words with Music (1972) and how Engel's classic work remains vital and illuminating today.
