What Cant Be Coded Can Be Decorded Reading Writing Performing Finnegans Wake
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Roth Book Notes--Mcluhan.Pdf
Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth Mediated America Part Two: Who Was Marshall McLuhan & What Did He Say? McLuhan, Marshall. The Mechanical Bride: Folklore of Industrial Man. (New York: Vanguard Press, 1951). McLuhan, Marshall and Bruce R. Powers. The Global Village: Transformations in World Life and Media in the 21st Century. (New York: Oxford University Press, 1989). McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. (Toronto: University of Toronto Press, 1962). McLuhan, Marshall. Understanding Media: The Extensions of Man. (Cambridge, MA: MIT Press, 1994. Originally Published 1964). The Mechanical Bride: The Gutenberg Galaxy Understanding Media: The Folklore of Industrial Man by Marshall McLuhan Extensions of Man by Marshall by Marshall McLuhan McLuhan and Lewis H. Lapham Last week in Book Notes, we discussed Norman Mailer’s discovery in Superman Comes to the Supermarket of mediated America, that trifurcated world in which Americans live simultaneously in three realms, in three realities. One is based, more or less, in the physical world of nouns and verbs, which is to say people, other creatures, and things (objects) that either act or are acted upon. The second is a world of mental images lodged between people’s ears; and, third, and most importantly, the mediasphere. The mediascape is where the two worlds meet, filtering back and forth between each other sometimes in harmony but frequently in a dissonant clanging and clashing of competing images, of competing cultures, of competing realities. Two quick asides: First, it needs to be immediately said that Americans are not the first ever and certainly not the only 21st century denizens of multiple realities, as any glimpse of Japanese anime, Chinese Donghua, or British Cosplay Girls Facebook page will attest, but Americans first gave it full bloom with the “Hollywoodization,” the “Disneyfication” of just about anything, for when Mae West murmured, “Come up and see me some time,” she said more than she could have ever imagined. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Finnegans Wake
Dublin Celebrates the Wake 's 80th Birthday: " Finnegans Wake at 80"; "Lucia Joyce: Perspectives"; "Text/Sound/Performance: Making in Canadian Space"; and "Finnegans Wake-End," 11-13 April, 25-27 April, and 3-5 May, 2019 Derek Pyle James Joyce Quarterly, Volume 56, Number 1-2, Fall 2018-Winter 2019, pp. 10-17 (Article) Published by The University of Tulsa DOI: https://doi.org/10.1353/jjq.2019.0029 For additional information about this article https://muse.jhu.edu/article/736656 Access provided at 4 Nov 2019 15:59 GMT from Nypl Research James Joyce Quarterly 56.1-2 2018-2019 Sadly, I was unable to attend the Lucia Joyce: Perspectives event which took place directly after the symposium; I had to return home to my own daughter. But, from several reports—via word-of-mouth and Lawrence’s continued live tweeting (#LuciaJoycePerspectives)— it seems to have been an excellent event, expertly organized by Genevieve Sartor. It was about time that Lucia had an occasion of her own, rather than being squeezed into events focusing on her father. “Finnegans Wake at 80” was, for me, a resounding success. Although I have not fully switched my allegiance from Team Ulysses to Team Wake, since the symposium, I have returned to Joyce’s 1939 master- piece with renewed vigor, inquisitiveness, and conviction. Cleo Hanaway-Oakley University of Bristol Dublin Celebrates the Wake’s 80th Birthday: “Finnegans Wake at 80”; “Lucia Joyce: Perspectives”; “Text/Sound/Performance: Making in Canadian Space”; and “Finnegans Wake-End,” 11-13 April, 25-27 April, and 3-5 May, 2019 4 May 2019 marked eighty years since the first publication of Finnegans Wake, and this spring multiple events in Dublin celebrated the book’s impact, history, and continuing legacy. -
As I Exemplify: an Examination of the Musical-Literary Relationship in the Work of John Cage LYNLEY EDMEADES
As I Exemplify: An Examination of the Musical-Literary Relationship in the Work of John Cage LYNLEY EDMEADES A thesis submitted for the degree of MASTER OF ARTS at the University of Otago, Dunedin, New Zealand June 2013 ABSTRACT This thesis examines the ways in which John Cage negotiates the space between musical and literary compositions. It identifies and analyses the various tensions that a transposition between music and text engenders in Cage’s work, from his turn to language in the verbal score for 4’ 33’’ (1952/1961), his use of performed and performative language in the literary text “Lecture on Nothing” (1949/1959), and his attempt to “musicate” language in the later text “Empty Words” (1974–75). The thesis demonstrates the importance of the tensions that occur between music and literature in Cage’s paradoxical attempts to make works of “silence,” “nothing,” and “empty words,” and through an examination of these tensions, I argue that our experience of Cage’s work is varied and manifold. Through close attention to several performances of Cage’s work— by both himself and others—I elucidate how he mines language for its sonic possibilities, pushing it to the edge of semantic meaning, and how he turns from systems of representation in language to systems of exemplification. By attending to the structures of expectation generated by both music and literature, and how these inform our interpretation of Cage’s work, I argue for a new approach to Cage’s work that draws on contemporary affect theory. Attending to the affective dynamics and affective engagements generated by Cage’s work allows for an examination of the importance of pre-semiotic, pre-structural responses to his work and his performances. -
Works on Giambattista Vico in English from 1884 Through 2009
Works on Giambattista Vico in English from 1884 through 2009 COMPILED BY MOLLY BLA C K VERENE TABLE OF CON T EN T S PART I. Books A. Monographs . .84 B. Collected Volumes . 98 C. Dissertations and Theses . 111 D. Journals......................................116 PART II. Essays A. Articles, Chapters, et cetera . 120 B. Entries in Reference Works . 177 C. Reviews and Abstracts of Works in Other Languages ..180 PART III. Translations A. English Translations ............................186 B. Reviews of Translations in Other Languages.........192 PART IV. Citations...................................195 APPENDIX. Bibliographies . .302 83 84 NEW VICO STUDIE S 27 (2009) PART I. BOOKS A. Monographs Adams, Henry Packwood. The Life and Writings of Giambattista Vico. London: Allen and Unwin, 1935; reprinted New York: Russell and Russell, 1970. REV I EWS : Gianturco, Elio. Italica 13 (1936): 132. Jessop, T. E. Philosophy 11 (1936): 216–18. Albano, Maeve Edith. Vico and Providence. Emory Vico Studies no. 1. Series ed. D. P. Verene. New York: Peter Lang, 1986. REV I EWS : Daniel, Stephen H. The Eighteenth Century: A Current Bibliography, n.s. 12 (1986): 148–49. Munzel, G. F. New Vico Studies 5 (1987): 173–75. Simon, L. Canadian Philosophical Reviews 8 (1988): 335–37. Avis, Paul. The Foundations of Modern Historical Thought: From Machiavelli to Vico. Beckenham (London): Croom Helm, 1986. REV I EWS : Goldie, M. History 72 (1987): 84–85. Haddock, Bruce A. New Vico Studies 5 (1987): 185–86. Bedani, Gino L. C. Vico Revisited: Orthodoxy, Naturalism and Science in the ‘Scienza nuova.’ Oxford: Berg, 1989. REV I EWS : Costa, Gustavo. New Vico Studies 8 (1990): 90–92. -
Download PDF Booklet
NA596012D 7070th Anniversary Edition BOOK I: THE BOOK OF THE PARENTS [The fall] 1 ‘riverrun, past Eve and Adam’s…’ 10:18 The scene is set and the themes of history, the fall, the twin brothers and ‘Bygmester Finnegan’ set out. HCE has fallen (‘Hic Cubat Edilis’), we have attended his wake, and now he lies like a giant hill beside his Liffeying wife (Apud Libertinam Parvulam). 2 ‘Hence when the clouds roll by, jamey...’ 5:28 We enter the Wellington museum in Phoenix Park (‘The Willingdone Museyroom’). The mistress Kathe is our guide. 3 ‘So This Is Dyoublong?’ 7:03 Leaving the museum we find the landscape transformed into an ancient battlefield and recall the events of 566 and 1132 AD as recalled in ‘the leaves of the living of the boke of the deeds’. A strange looking foreigner appears over the horizon. It is a Jute. He converses with a suspicious native Irelander: Mutt. Mutt’s exclamation ‘Meldundleize!’ is the first of many references to Isolde’s final aria, the Liebestod, from Wagner’s Tristan und Isolde, which begins: ‘Mild und leise...’ 4 ‘(Stoop) if you are abcedminded, to this claybook…’ 7:17 We are brought back abruptly to the present and to tales hinting at scandal. Gradually the wake scene re-emerges: ‘Anam muck an dhoul (soul to the devil)! Did ye drink me doornail!’ HCE (Mr Finnemore) is encouraged to lie easy. There’s nothing to be done about it – either the sin was committed or it wasn’t. Either way it was HCE who caused the hubbub in the first place. -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
No99 Jan 1987 Capital Gains-Our January Talk Advance Notice Beauty in History One Hundred Up
No99 of the CAMDEN HISTORY SOCIETY Jan 1987 Capital Gains-our January Beauty in History Thursday, Feb 5th, 8pm. Talk Burgh House, New End Square, NW3 Wednesday, January 21st, 7pm Holborn Central Library, Theobalds Rd WCl our talk in February has the unusual theme of beauty in history, more particularly the As members will be aware there has been a social and political implications of significant increase in archaeological personal appearance in western society from activity in London in the last decade. The 1500 to present day. This intriguing talk, Museum of London has recently mounted an to be given by Professor Arthur Marwick, exhibition to give perspective to the finds will be, of course, illustrated with and conclusions. We are therefore pleased slides. Professor Marwick is Head of the that Dr Hugh Chapman, of the Museum of Department of History at the Open London, has agreed to give us a talk on the_ University and is a frequent broadcaster. same theme, either to whet our appetites to He emphasises that his theme is to do with see the Exhibition or else to enlarge on physical beauty and not to do with fashion. what we have already seen. One Hundred Up Advance Notice Don't forget that the next Newsletter is Please put these dates in your new diaries: the one hundredth edition. We want to make it a larger edition that usual so if you Mar 25, 7.30pm. St Pancras Church House. have a short contribution do send it in to Jim Eliot on 'The City in Maps through the the editot, John Richardson, 32 Ellington ages' Street, N7 before February 15th. -
The Works an D Life of Walter Bagehot
THE WORKS AN D LIFE OF WALTER BAGEHOT VOL. III. THE WORKS AND LIFE OF WALTER BAGEHOT EDItED BY MRS. RUSSELL BARRINGTON THE WORKS J.1'; NI.1';E VOLUME:" THE LIFE IN ONE VOLU~IE VOL. III. OF THE WORKS LON G MAN S, G R E EN, AND C O. 39 PATERNOSTER ROW, LONDON FOURTH AVENUE & 30TH :"TREET, NEW YORK BOMBAY, CALCUTTA, AND MADRAr" CONTENTS OF VOLUME III. PAOi BERANGER (1857) THE WAVERLEY NOVELS (1858) 37 CHARLES DICKENS (1858) 73 PARLIAMENTARY REFORM (1859) 108 JOHN MILTON (1859) • THE HISTORY OF THE UNREFORMED PARLIAMENT, AND ITS LESSONS (1860) • 222 MR. GLADSTONE (1860) 272 MEMOIR OF THE RIGHT HONOURABLE JAMES WILSON (1850) . 302 THE AMERICAN CONSTITUTION AT THE PRESENT CRISIS. Causes of the Civil War in America. By j. Lothrop Motley Manwaring (from Na- tIonal Review, October, 1861) 349 v ERRATA. Page 378, line 14,jor eight read eighth 379, " 7,,, member read minister BERANGER.l THE invention of books has at least one great advantage. It has half-abolished one of the worst consequences of the diver- sity of languages. Literature enables nations to understand one another. Ora) intercourse hardly does this. In English, a distinguished foreigner says not what he thinks, but what he can. There is a certain intimate essence of national mean- ing which is as untranslatable as good poetry. Dry thoughts are cosmopolitan; but the delicate associations of language which express character, the traits of speech which mark the man, differ in every tongue, so that there are not even cum- brous circumlocutions that are equivalent in another. -
Vienna Philharmonic Orchestra Probably No Individual Composer Has Ever En- Gether, “I Was Leader of the Second Violins
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, February 25, 2011, 8pm Franz Schubert (1797–1828) anything else, he learned it all from God him- Zellerbach Hall Symphony No. 2 in B-flat major, D. 125 self”) and the famed Antonio Salieri (“You can do everything, you are a genius”), but also by his Composed in 1815. fellow students. Josef von Spaun, who became a lifelong friend, wrote of their school days to- Vienna Philharmonic Orchestra Probably no individual composer has ever en- gether, “I was leader of the second violins. Little gendered such an avalanche of new music as Schubert stood behind me and fiddled. [Many Semyon Bychkov, conductor flowed from Franz Schubert’s pen in 1815. There orchestras, except for the cellists, performed are almost 200 separate works from that one standing until the mid-19th century.] Very soon, year: the Second and Third Symphonies, a string I noticed that the little musician far surpassed quartet, two piano sonatas and four other large me in rhythmic surety. This aroused my interest PROGRAM piano works, two Masses, four choral composi- and made me realize with what animation the tions, five operas and 146 songs, eight coming in lad, who seemed otherwise quiet and indifferent, a single day in May. Schubert capped the year’s gave himself up to the impression of the beauti- Franz Schubert (1797–1828) Symphony No. 2 in B-flat major, D. 125 (1815) activities by producing Der Erlkönig on New ful symphonies which we played.” The school or- Year’s Eve. He was 18. chestra tackled works by Haydn, Mozart (“You Largo — Allegro vivace A year earlier, in the autumn of 1814, could hear the angels sing,” Schubert wrote of Andante Schubert had been exempted from compul- the G minor Symphony) and early Beethoven, Menuetto: Allegro vivace sory 13-year (!) military service because of his as well as such lesser masters as Krommer, Presto vivace short stature (barely five feet) and terrible eye- Kozeluch, Méhul and Weigl. -
EMPTY WORDS Other
EMPTY WORDS Other Wesley an University Press books by John Cage Silence: Lectures and Writings A Year from Monday: New Lectures and Writings M: Writings '67-72 X: Writings 79-'82 MUSICAGE: CAGE MUSES on Words *Art*Music l-VI Anarchy p Writings 73-78 bv WESLEYAN UNIVERSITY PRESS Middletown, Connecticut Published by Wesleyan University Press Middletown, CT 06459 Copyright © 1973,1974,1975,1976,1977,1978,1979 by John Cage All rights reserved First paperback edition 1981 Printed in the United States of America 5 Most of the material in this volume has previously appeared elsewhere. "Preface to: 'Lecture on the Weather*" was published and copyright © 1976 by Henmar Press, Inc., 373 Park Avenue South, New York, New York 10016. Reprint pernr~sion granted by the publisher. An earlier version of "How the Piano Came to be Prepared" was originally the Introduction to The Well-Prepared Piano, copyright © 1973 by Richard Bunger. Reprinted by permission of the author. Revised version copyright © 1979 by John Cage. "Empty Words" Part I copyright © 1974 by John Cage. Originally appeared in Active Anthology. Part II copyright © 1974 by John Cage. Originally appeared in Interstate 2. Part III copyright © 1975 by John Cage. Originally appeared in Big Deal Part IV copyright © 1975 by John Cage. Originally appeared in WCH WAY. "Series re Morris Graves" copyright © 1974 by John Cage. See headnote for other information. "Where are We Eating? and What are We Eating? (Thirty-eight Variations on a Theme by Alison Knowles)" from Merce Cunningham, edited and with photographs and an introduction by James Klosty. -
Nicholas Isherwood Performs John Cage
aria nicholas isherwood performs john cage nicholas isherwood BIS-2149 BIS-2149_f-b.indd 1 2014-12-03 11:19 CAGE, John (1912–92) 1 Aria (1958) with Fontana Mix (1958) 5'07 Realization of Fontana Mix by Gianluca Verlingieri (2006–09) Aria is here performed together with a new version of Fontana Mix, a multichannel tape by the Italian composer Gianluca Verlingieri, realized between 2006 and 2009 for the 50th anniversary of the original tape (1958–2008), and composed according to Cage’s indications published by Edition Peters in 1960. Verlingieri’s version, already widely performed as tape-alone piece or together with Cage’s Aria or Solo for trombone, has been revised specifically for the purpose of the present recording. 2 A Chant with Claps (?1942–43) 1'07 2 3 Sonnekus (1985) 3'42 4 Eight Whiskus (1984) 3'50 Three songs for voice and closed piano 5 A Flower (1950) 2'58 6 The Wonderful Widow of Eighteen Springs (1942) 3'02 7 Nowth Upon Nacht (1984) 0'59 8 Experiences No. 2 (1945–48) 2'38 9 Ryoanji – version for voice and percussion (1983–85) 19'36 TT: 44'53 Nicholas Isherwood bass baritone All works published by C.F. Peters Corporation, New York; an Edition Peters Group company ere comes Cage – under his left arm, a paper bag full of recycled chance operations – in his right hand, a copy of The Book of Bosons – the new- Hfound perhaps key to matter. On his way home he stops off at his favourite natural food store and buys some dried bulgur to make a refreshing supper of tabouleh.