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By ANTONIN ARTAUD HELIOGABALUS
HELIOGABALUS OR, THE CROWNED ANARCHIST by ANTONIN ARTAUD 1 2 3 HELIOGABALUS OR, THE CROWNED ANARCHIST INFINITY LAND PRESS 4 HELIOGABALUS OR, THE CROWNED ANARCHIST This book is supported by the Institut français (Royaume-Uni) as part of the Burgess programme. by Antonin Artaud Translated by Alexis Lykiard INFINITY LAND PRESS 2019 with an introduction by www.infinitylandpress.com Stephen Barber ISBN 978-1-9160091-1-0 All rights reserved. No part of this publication may be reproduced without the prior permission of Infinity Land Press Ltd. Artworks by Martin Bladh Book design by Karolina Urbaniak Photographs by Karolina Urbaniak Antonin Artaud at the time of writing Heliogabalus CONTENTS 1. Introduction by Stephen Barber 2. Heliogabalus or, the Crowned Anarchist Translated by Alexis Lykiard 3. Heliogabalus Letters Translated by Stephen Barber INTRODUCTION by Stephen Barber The acts of excess and aberration of the Roman Emperors have provoked richly obsessional responses from innumerable writers and artists over the centuries. In the twentieth century, that fascination (now shared too by filmmakers) emerged at moments of profound upheaval and social disintegration: in Germany during the 1910s, in France during the 1930s, and in Japan during the 1960s - and worldwide, in the contemporary moment. The grandiose and arbitrary abuse of unlimited power, the overriding infinite desire for immediate sexual ecstasy and oblivion especially through violence and subjugation, and the nonchalant eradication of entire populations, are now ever-more familiar -
1 Number 95 Spring/Summer 2019
NUMBERVirginia 95 Woolf Miscellany SPRING/SUMMER 2019 Editor’s Introduction: o o o o Elizabeth Willson Gordon has argued, convincingly, The Common Book Collector that an entire sequence of contradictions animates You can access issues of the the marketing of the Hogarth Press from the first. If Virginia and Leonard Woolf were not book Virginia Woolf Miscellany the original intention behind Hogarth Press books collectors, which is to say that theirs was a online on WordPress at was to create affordable and attractive books for working library and they were not precious about https://virginiawoolfmiscellany. texts that the “commercial publisher could not the condition of their books. George Holleyman, wordpress.com/ or would not publish” (L. Woolf 80), they were the Brighton bookseller who arranged the sale of – TABLE OF CONTENTS – also intelligently marketed, with a “discourse of the Monk’s House Library to Washington State See page 22 exclusivity” that confers “distinction” on their University, described the general condition of the In Memoriam coterie audience (Willson Gordon 109). Even the 9,000 volumes remaining in the Woolfs’ library Cecil James Sidney Woolf famous imperfections of the handprinted Hogarth after Leonard’s death as “poor”: “it was always See page 8-21 Press books “employ casualness as a market essentially a working library and neither Leonard strategy”; therefore, “a printing press of one’s own INTERNATIONAL nor Virginia cared for fine books or collectors’ is both elitist and democratic” (Willson Gordon VIRGINIA WOOLF pieces. No books were kept behind glass and no 113, 112). This “both-and” model also applies to item was specially cared for. -
Architectures
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2017 Doorways to Being: Modernism and 'Lived' Architectures Amy A. Foley University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Foley, Amy A., "Doorways to Being: Modernism and 'Lived' Architectures" (2017). Open Access Dissertations. Paper 584. https://digitalcommons.uri.edu/oa_diss/584 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. DOORWAYS TO BEING: MODERNISM AND 'LIVED' ARCHITECTURES BY AMY A. FOLEY A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2017 DOCTOR OF PHILOSOPHY DISSERTATION OF AMY A. FOLEY APPROVED: Dissertation Committee: Major Professor Stephen Barber Galen Johnson Valerie Karno Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2017 Abstract Situated in recent scholarship on interiors and architecture in modernist fiction, "Doorways to Being" explores ways in which the modernist novel proposes a phenomenological engagement with the material environment, specifically the body in relation to transitional architectures. The study of thresholds in select modern fiction seeks to answer the essential question of how and why we move in the constructed world from the perspective of phenomenology and cultural studies. This comparative and interdisciplinary dissertation demonstrates how modernist fiction reestablishes the primacy of the sensed physical world in the spirit of Maurice Merleau-Ponty. -
Modernism and 'Lived' Architectures
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2017 Doorways to Being: Modernism and 'Lived' Architectures Amy A. Foley University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Foley, Amy A., "Doorways to Being: Modernism and 'Lived' Architectures" (2017). Open Access Dissertations. Paper 584. https://digitalcommons.uri.edu/oa_diss/584 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. DOORWAYS TO BEING: MODERNISM AND 'LIVED' ARCHITECTURES BY AMY A. FOLEY A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2017 DOCTOR OF PHILOSOPHY DISSERTATION OF AMY A. FOLEY APPROVED: Dissertation Committee: Major Professor Stephen Barber Galen Johnson Valerie Karno Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2017 Abstract Situated in recent scholarship on interiors and architecture in modernist fiction, "Doorways to Being" explores ways in which the modernist novel proposes a phenomenological engagement with the material environment, specifically the body in relation to transitional architectures. The study of thresholds in select modern fiction seeks to answer the essential question of how and why we move in the constructed world from the perspective of phenomenology and cultural studies. This comparative and interdisciplinary dissertation demonstrates how modernist fiction reestablishes the primacy of the sensed physical world in the spirit of Maurice Merleau-Ponty. -
Completions and Reconstructions of Musical Works Part 2: Viennese Classics by Stephen Barber
Completions and Reconstructions of Musical Works Part 2: Viennese Classics By Stephen Barber Gluck first wrote Orfeo ed Eurydice in 1762 for Vienna, in Italian, with an alto castrato in the lead role. He transposed the solo role upwards for a soprano castrato in 1769. He revised the work considerably for Paris in 1774, having the libretto translated into French, rewriting the solo role for the kind of high tenor known as a haut-contre, revising the orchestration and writing new recitatives and additional ballets, including some material from his own earlier works, such as the virtuoso aria Amour, viens rendre at the end of the first Act and the Dance of the Furies in the second. In the nineteenth century, the rise in pitch made the tenor version impractical and in 1866 Berlioz revised the whole opera, knowing both the 1762 and 1774 versions well. He rewrote the solo part for a mezzo-soprano or contralto. He also restored the key structure of the 1762 version while retaining most, though not all, of the additional material from 1774, but reverting to the 1762 orchestration where he thought it superior to the revision.1 Given Gluck’s willingness to revise his work for different occasions and to borrow freely from his other works, the aim of constructing an ideal version seems particularly appropriate for Orfeo. While 1762, with either a soprano or a countertenor, and 1774 with a high tenor each has its advocates, the mainstream view, with which I concur, is to go for the Berlioz version, though often this is also modified, for example by adding in the passages which he cut and translating it back into Italian. -
Completions and Reconstructions of Musical Works by Stephen Barber
Completions and Reconstructions of Musical Works by Stephen Barber Introduction Over the years a number of musical works have been left incomplete by their composers or have been partly or wholly lost and have been reconstructed. I have a particular interest in such works and now offer a preliminary survey of them. A musical work in the Western classical tradition is the realization of a written score. Improvisation usually plays a very small part, and is replaced by interpretation, which means that a score may be realized in subtly different ways. The idiom in most periods involves a certain symmetry in design and the repetition, sometimes varied, sometimes not, of key parts of the work. If the score is unfinished, then a completion or reconstruction by a good scholar or composer allows us to hear at least an approximation to what the composer intended. The use of repetition as part of the overall design can make this possible, or the existence of sketches or earlier or later versions of the work, or a good understanding of the design and idiom. Without this the work may be an incomplete torso or may be unperformable. The work is not damaged by this process, since, unlike a picture, a sculpture or a building, it exists not as a unique physical object but as a score, which can be reproduced without detriment to the original and edited and performed without affecting the original version. Completions and reconstructions may be well or badly done, but they should be judged on how well they appear to complete what appears to be the original design by the composer.