The book will trace the history of the School from its early years into the twentieth century, bringing the story right up to date by celebrating the flourishing community that is the School today.
Reclaiming the Piazza III is a timely contribution, showing how the Catholic theological tradition in its perennial wisdom engages with, and helps redress, the challenges of our times. In its content and collaborative approach, this book models the very kind of "bridge building" it identifes as a fundamental characteristic of the New Evangelization. It will also serve as a rich resource for anyone, of all faiths or none, interested in learning more about the vital roles which faith, reason, and a spirit of charity play in resourcing our culture today.
This Companion is an essential guide to all aspects of the organ and its music. It examines in turn the instrument, the player and the repertoire. The early chapters tell of the instrument's history and construction, identify the scientific basis of its sounds and the development of its pitch and tuning, examine the history of the organ case, and consider the current trends and conflicts within the world of organ building. Central chapters investigate the practical art of learning and playing the organ, introduce the complex area of performance practice, and outline the relationship between organ playing and the liturgy of the church. The final section explores the vast repertoire of organ music, focusing on a selection of the most important traditions.
In a society where public speech was integral to the decision-making process, and where all affairs pertaining to the community were the subject of democratic debate, the communication between the speaker and his audience in the public forum, whether the law-court or the Assembly, cannot be separated from the notion of performance. Attic Oratory and Performance seeks to make modern Performance Studies productive for, and so make a significant contribution to, the understanding of Greek oratory. Although quite a lot of ink has been spilt over the performance dimension of oratory, the focus of nearly all of the scholarship in this area has been relatively narrow, understanding performance as only encompassing 'delivery' – the use of gestures and vocal ploys – and the convergences and divergences between oratory and theatre. Serafim seeks to move beyond this relatively narrow focus to offer a holistic perspective on performance and oratory. Using examples from selected forensic speeches, in particular four interconnected speeches by Aeschines (2, 3) and Demosthenes (18, 19), he argues that oratorical performance encompassed subtle communication between the speaker and the audience beyond mere delivery, and that the surviving texts offer numerous glimpses of the performative dimension of these speeches, and their links to contemporary theatre.
At the same time, official speeches and proceedings on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves."--Jacket.
This is the third volume in the Oratory of Classical Greece series. Planned for publication over several years, the series will present all of the surviving speeches from the late fifth and fourth centuries B.C. in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today’s undergraduates, Greekless scholars in other disciplines, and the general public. Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few. This volume contains the three surviving speeches of Aeschines (390–? B.C.). His speeches all revolve around political developments in Athens during the second half of the fourth century B.C. and reflect the internal political rivalries in an Athens overshadowed by the growing power of Macedonia in the north. The first speech was delivered when Aeschines successfully prosecuted Timarchus, a political opponent, for having allegedly prostituted himself as a young man. The other two speeches were delivered in the context of Aeschines’ long-running political feud with Demosthenes. As a group, the speeches provide important information on Athenian law and politics, the political careers of Aeschines and Demosthenes, sexuality and social history, and the historical rivalry between Athens and Macedonia.
When in 1858 Newman was retiring from the Catholic University in Dublin, friends approached him when confronted with the problem of where to educate their sons and he became the central figure in the establishment of the Oratory School. Newmand and his co-founders - a trio of brilliant Catholic laymen, two parliamentary barristers and Lord Acton - faced stiff resistance in setting up the first Catholic public school; and once it opened their troubles were compunded by a staff mutiny and threats of closure from Rome. This is no standard story because the Oratory School was no standard school. It was the school's fate to be caught up in many of the key controversies of the time, not least because of its association with Newman; and for this reason the tale of its formative years under Newman provides important insights into Victorian life and English Catholic history. The story of the early years of the school, which counted Gerard Manley Hopkins among its masters, Hilaire Belloc among its pupils, and Newman as its guiding light, is told here fully for the first time.