DOCSLIB.ORG

Essential High End Munich 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Essential High End Munich 2019 ESSENTIAL HIGH END MUNICH 2019 elcome to Hifi Pig’s EDITORIAL pre Munich High End Editor and Publisher: Stuart Smith e-magazine which we Advertising Director: Linette Smith are calling Essential High End ADVERTISING 2019. Within these pages you will find information For all advertising enquires please contact [email protected] Wabout where you can purchase tickets for the show, opening times, places in Munich to EDITORIAL AND FEATURES eat, a full list of exhibitors and where you can find them, plus a whole lot more. You will also find a number of high-profile brands For all editorial and feature enquiries please contact [email protected] letting you know what they are going to be up to at the show. Munich is without a doubt the event on the Hifi Pig is a part of Big Pig Media LLP Hifi calendar and we are covering it for the 7th year. As well as Linette and myself the Hifi Pig team will also be represented Janine Elliot and Ian Ringstead so that we can bring you as much of a feel for the show as is possible. If you haven’t been to the show before then be prepared to be absolutely overwhelmed when you first step through the doors of the MOC. Really, nothing can prepare you for the scale of this event and no audio show we have attended comes close to matching the scale and breadth of Munich High End. The organisation of the show by the High End Society is second to none and all credit must go out to the team in Germany. Of course as well as this publication, which we hope readers will download and use for the show, we are also adding news to the Hifi Pig site on a daily basis and will be reporting from the show itself. We know there’s lots of great new products going to be launched at this years show and it promises to be bigger All content is copyright Hifi Pig and Big Pig Media. No part of this publication and better than ever before. Just remember may be reproduced (in part or in full) without the prior written consent of the to pack some comfortable shoes. publisher. ESSENTIAL HIGH END MUNICH 2019 WHERE AND WHEN ESSENTIAL HIGH END MUNICH 2019 High End Munich is a fantastic show but you need to know where and when it’s happening and where you can book your tickets…and of course, what kind of tickets you can buy. Fear not, Hifi Pig is here to make life easy for you! OPENING HOURS CLICK TO BOOK YOUR TICKETS Thursday (Trade only): 9am - 7pm Friday: 10 am - 6pm Saturday: 10am - 6pm Sunday: 10am - 4pm TRADE VISITORS Trade visitor ticket with pre-registration: only 25.00 EUR Trade visitor ticket locally: 40.00 EUR VISITORS Visitor day ticket Friday or Saturday: 15.00 EUR / day Visitor day ticket Sunday: 5.00 EUR / day Visitor 3-Day ticket: Friday to Sunday: 25.00 EUR Order your tickets easily and securely online. The system needs your E-Mail address and whether you’re going to order visitor or trade visitor tickets. You will be asked for a credit card or for a Paypal account to pay online. You can order tickets for the public days. Valid at the days May 10th or 11th or 12th 2019. 3 DAY TICKET You can order 3 day tickets for the public days. Valid for May 10th, 11th and 12th 2019 SUNDAY TICKET You can order sunday tickets. Valid only on Sunday May 12th 2019 SPECIAL PRICES: These are only available at the MOC on Friday and Saturday: 10.00 EUR Reduced ticket prices are for pupils, students, seniors, and persons with disabilities with relevant passes. CHILDREN: Free entry for children until the age of 14. BOOK YOUR TICKETS NOW ESSENTIAL HIGH END MUNICH 2019 HIFIDELUXE SHOW ESSENTIAL HIGH END MUNICH 2019 The Hifideluxe Show runs on the Thursday, Friday and Saturday, May the 9th to 11th. Entry to the show is free. Opening hours: 9th + 10th May from 12.00 to 20.00 h May 11th from 11:00 to 18:00 h Munich Marriott Hotel Berliner Straße 93 D-80805 München-Schwabing There is a free shuttle bus service between the High-End exhibition and the Hifideluxe every 15 minutes. You will find the bus stops right on the front of the Marriott Hotels and across the road from the MOC, hall 3. If you are using the Ubahn you get off at the Nordfriedhof stop. ESSENTIAL HIGH END MUNICH 2019 FOREWORD BY THE HIGH END SOCIETY ESSENTIAL HIGH END MUNICH 2019 Welcome to the 38th HIGH END, the oldest European and international audiophile exhibition, providing impetus to an entire industry and presenting the latest developments of over 500 exhibitors from roughly 40 countries in the MOC in Munich. This year’s event expects to see a repeat draw of over 20,000 visitors, one third of whom will once again include a high- calibre trade public of opinion leaders from over 60 nations. We continue to be proud of the wide-ranging portfolio: Starting with famous hi-fi legends, through streaming, wireless and network-capable audio systems, right down to impressive multimedia installations, where music conjures a grand cinema of the senses. Stefan Dreischärf ESSENTIAL HIGH END MUNICH 2019 EATING AND DRINKING IN MUNICH Tushita Teehaus EATING OUT IN MUNICH Lost Weekend Orange Box Of course, you are going to want to be at the show from the moment it Cafe Katzentempel opens its doors to closing time and during that very full day, and after all that walking and listening to great audio, you will need sustenance. OTHER RESTAURANTS There are various places to eat in the MOC itself with dishes ranging from sandwiches and light snacks through to proper sit-down menus. There’s also lots of places you can get liquid refreshment including For the meat enthusiasts attending the show the choice is vast in the splendid beer garden. However, once the show is over you will Munich but here is what Trip Advisor suggests as being good places want to head into town and eat and so here is the Hifi Pig guide to to eat. Most of the places listed below are vegetarian friendly but our eating out in Munich. However, if you are like us, unless you love a advice is to check before booking. particular restaurant and know it, our suggestion is to get a little lost in Restaurant Pils Corner the evening and stumble upon somewhere and try it out – we’ve Steinheil 16 found some real gems that way! Whatever, we suggest you get away Zum Durnbraeu from your hotel in the evening and go explore this wonderful and Zum Brunnstein friendly city! Wirtshaus Zum Straubinger Restaurant Halali Zwickl - Gastlichkeit am Viktualienmarkt VEGAN AND VEGETARIAN Zum Alten Markt Truderinger Wirtshaus Despite the Bavarian love of all foods that are pig based it is still Servus Heidi pretty easy to eat out even if you are vegan or vegetarian. Here’s a Ratskeller Munchen handful of restaurants that are either vegan/vegetarian or cater for Augustiner-Keller your needs. Max Pett Hifi Pig thoroughly recommends and we’ll be eating out there on the Saturday night hopefully. It’s completely BEER IN MUNICH vegan, alcohol free and utterly delicious. You don’t need to be fluent in German to understand what the Katzentempel is – yep, it’s a café with cats, though not to eat of course! Beer is a bit of an institution in Munich and it isn’t unusual, particularly Gratitude Restaurant on the Saturday when there is a football match on, to see gangs of Max Pett people dressed in their traditional lederhosen and pulling carts full of ESSENTIAL HIGH END MUNICH 2019 EATING AND DRINKING IN MUNICH cases of beer. Sounds like a recipe for disaster, but in all the years Tap-House we’ve been going to Munich for the High End show we’ve never Schneider Bräuhaus München encountered any hassles with drunk people. Paulaner Bräuhaus Löwenbräukeller For those new to Munich the Hofbräuhaus is a bit of a must. It’s a vast Augustiner Bräustuben and sprawling brewery and beer hall (or halls) that has Oompah Zum Flaucher Biergarten bands playing, huge steins of beer and traditionally dressed women Der Pschorr going around selling salty pretzels. They also sell rib sticking food with Zum Augustiner a limited choice for vegetarians. Augustiner-Keller Beer in Germany comes in many styles and here’s the ones we’ve encountered most whilst we’ve visited. STYLES OF BEER IN BAVARIA Weizenbier and Weißbier are the standard German names for wheat beer with Weiß meaning white. Hefeweizen is an an unfiltered wheat beer with "Hefe" being German for yeast. Linette is partial to this particular style of beer. Helles is a malty pale lager from Bavaria and is available pretty much everywhere. Pilsener is massively popular in Germany and is a pale and hoppy lager. Dunkel is a dark lager which comes in Bavaria is a sweet and malty. This is Stuart our editor’s favourite! SOME OF THE BEER HOUSES IN MUNICH Hofbräuhaus München ESSENTIAL HIGH END MUNICH 2019 GETTING ABOUT The MOC is in the inner district for the S and U bahn trains. If you are SHOW SHUTTLE traveling from the city centre to the MOC every day of the show, you can buy day tickets. The best value if there is two to five of you in a The High End Society are nothing if not hyper organised and they group is a three-day ticket for public transport that costs just under make it very easy for trade and public visitors to the show to get 30€ (3 tageskarte gruppe).
Load more

Recommended publications
  • HOMERIC-ILIAD.Pdf
    Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
    [Show full text]
  • The Supplices of Euripides James Diggle
    The "Supplices" of Euripides Diggle, James Greek, Roman and Byzantine Studies; Fall 1973; 14, 3; ProQuest pg. 241 The Supplices of Euripides James Diggle I ., , 42 LK€T€VW C€, Y€pCl.UX, ......, , \ 42/43 Y€pCI.LWV €t( CTOfLCl.TWV, TTpOC yovv" TTLTTTOVCCI. TO\ COV·I 44 tavofLoL T'KVCI. AVCCl.L '/"0' , .. 44/45 't' LfL€VWV V€KUWV ° L KCl.TCl.A€tTTOVCL fL'AYJ 46/47 OCl.VaTC[) AUCLfL€A€L OYJpdv OP€tOLCL j3opav. OMMENTATORS and emendators, with few exceptions, find the Cantecedent of the relative Ot in V€KVWV in line 44/45: " ... corpses which leave behind their limbs as a prey to beasts." The gibbering tjJvX~' knocking in vain at the gates of Hell, may have left its limbs behind as carrion. A corpse on the battlefield has abdicated control over its limbs: it does not enjoy the privilege of be­ queathing them to anybody. The conjectures of the interpreters in line 44 are not such as to redeem the improbability of their interpre­ tation: alla fLOL T'KVCI. AVCCl.L cfoOLfLEVWV V€KVWIl ed. Brubachiana and the early editors, rendered as "ut redimas mihi filiorum extinctorum cadauera" or "ut eximas meos liberos ex cadaueribus defunctorum," and modified by Brodaeus and Markland to avCI. fLOL KTA., "surge mihi, redime filios meos, etc."; alla A€LtjJCl.vCI. AVCCl.L Kirchhoff, ava fLOL CTtXCI. AvcCI.L Musgrave, a7T(~ CWfLCl.TCI. AVCCl.L Wecklein,1 avofL' Cl.LCX€CI. AVCCl.L Bruhn apud Murray. A few have tried a different path. Reiske and Markland find the antecedent of Ot in TEKVCI., and Markland offers a choice of three con­ structions for the phrase cfoOLfLEIlWV V€KVWV: (i) "ex cadaueribus defunc- 1 Ed.
    [Show full text]
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
    [Show full text]
  • Astrocladistics of the Jovian Trojan Swarms
    MNRAS 000,1–26 (2020) Preprint 23 March 2021 Compiled using MNRAS LATEX style file v3.0 Astrocladistics of the Jovian Trojan Swarms Timothy R. Holt,1,2¢ Jonathan Horner,1 David Nesvorný,2 Rachel King,1 Marcel Popescu,3 Brad D. Carter,1 and Christopher C. E. Tylor,1 1Centre for Astrophysics, University of Southern Queensland, Toowoomba, QLD, Australia 2Department of Space Studies, Southwest Research Institute, Boulder, CO. USA. 3Astronomical Institute of the Romanian Academy, Bucharest, Romania. Accepted XXX. Received YYY; in original form ZZZ ABSTRACT The Jovian Trojans are two swarms of small objects that share Jupiter’s orbit, clustered around the leading and trailing Lagrange points, L4 and L5. In this work, we investigate the Jovian Trojan population using the technique of astrocladistics, an adaptation of the ‘tree of life’ approach used in biology. We combine colour data from WISE, SDSS, Gaia DR2 and MOVIS surveys with knowledge of the physical and orbital characteristics of the Trojans, to generate a classification tree composed of clans with distinctive characteristics. We identify 48 clans, indicating groups of objects that possibly share a common origin. Amongst these are several that contain members of the known collisional families, though our work identifies subtleties in that classification that bear future investigation. Our clans are often broken into subclans, and most can be grouped into 10 superclans, reflecting the hierarchical nature of the population. Outcomes from this project include the identification of several high priority objects for additional observations and as well as providing context for the objects to be visited by the forthcoming Lucy mission.
    [Show full text]
  • The Arms of Achilles: Re-Exchange in the Iliad
    The Arms of Achilles: Re-Exchange in the Iliad by Eirene Seiradaki A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Eirene Seiradaki (2014) “The Arms of Achilles: Re-Exchange in the Iliad ” Eirene Seiradaki Doctor of Philosophy Department of Classics University of Toronto 2014 Abstract This dissertation offers an interpretation of the re-exchange of the first set of Achilles’ arms in the Iliad by gift, loan, capture, and re-capture. Each transfer of the arms is examined in relation to the poem’s dramatic action, characterisation, and representation of social institutions and ethical values. Modern anthropological and economic approaches are employed in order to elucidate standard elements surrounding certain types of exchange. Nevertheless, the study primarily involves textual analysis of the Iliadic narratives recounting the circulation-process of Achilles’ arms, with frequent reference to the general context of Homeric exchange and re-exchange. The origin of the armour as a wedding gift to Peleus for his marriage to Thetis and its consequent bequest to Achilles signifies it as the hero’s inalienable possession and marks it as the symbol of his fate in the Iliad . Similarly to the armour, the spear, a gift of Cheiron to Peleus, is later inherited by his son. Achilles’ own bond to Cheiron makes this weapon another inalienable possession of the hero. As the centaur’s legacy to his pupil, the spear symbolises Achilles’ awareness of his coming death. In the present time of the Iliad , ii Achilles lends his armour to Patroclus under conditions that indicate his continuing ownership over his panoply and ensure the safe use of the divine weapons by his friend.
    [Show full text]
  • The Iliad of Homer by Homer
    The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS.
    [Show full text]
  • 2003 Chancellor Certamen UPPER LEVEL
    2003 Chancellor Certamen UPPER LEVEL - ROUND 1 Note to Moderator: Teams are to confer quietly and write down the answers to questions 1-5. When time is called, have the all the captains of each team show their written answers at the same time. Every team will score points for a correct answer and will have the opportunity to answer the bonus question for bonus points. Announce to All Teams: The answers to questions 1-5 will be written down. Confer quietly with your team and write your answers on the paper provided. All teams who answer correctly will receive points and answer the bonus questions. 1) WRITE-DOWN: Welcome to the Chancellor Certamen. As we continue to tinker with the format and rules of the game, we ask that you write down the answers to your first five questions. Give the Latin for the subordinate verb in the sentence “We ask that you write the answers, students.” SCRIBATIS BONUS: For the bonus, write the entire sentence “We ask that you write the answers, students.” ROGAMUS UT SCRIBATIS RESPONSA, DISCIPULI 2) WRITE-DOWN: What is located in the Roman Forum and known as “Mamertine”? PRISON BONUS: In what part of the Mamertine Prison were executions held? TULLIANUM 3) WRITE-DOWN: According to the author Suetonius, Augustus beat his head and tore his hair in dismay because what general had lost three legions to the Germans? (P. QUINCTILIUS) VARUS BONUS: Where and when did the disastrous defeat take place? TUETOBURG FOREST in AD 9 4) WRITE-DOWN: What Greek herald at Troy had a loud, brazen voice? His name gives us the English word for extremely loud or booming, particularly in a voice? STENTOR BONUS: Who was the ugliest of the Greeks at Troy? He dared to speak against and ridicule Agamemnon.
    [Show full text]
  • The Ancient Critic at Work
    This page intentionally left blank THE ANCIENT CRITIC AT WORK The large but underrated corpus of Greek scholia, the marginal and interlinear notes found in manuscripts, is a very important source for ancient literary criticism. The evidence of the scholia significantly adds to and enhances the picture that can be gained from studying the relevant treatises (such as Aristotle’s Poetics): scholia also contain con- cepts that are not found in the treatises, and they are indicative of how the concepts are actually put to use in the progressive interpretation of texts. The book also demonstrates that it is vital to study both ancient terminology and the cases where a particular phenomenon is simply paraphrased. Nineteen thematic chapters provide a repertoire of the various terms and concepts of ancient literary criticism. The relevant witnesses are extensively quoted in Greek and English translation. A glossary of Greek terms (with translation) and several indices enable the book also to be used for reference. renen´ unlist¨ is Associate Professor of Classics at Brown University, Rhode Island. Publications include Poetologische Bildersprache in der fruhgriechischen¨ Dichtung () and a new co-authored commentary on Homer’s Iliad (–). THE ANCIENT CRITIC AT WORK Terms and Concepts of Literary Criticism in Greek Scholia RENEN´ UNLIST¨ Brown University CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521850582 © Cambridge University Press 2009 This publication is in copyright.
    [Show full text]
  • Stentorian Interview
    Volume 1 Number 2 The North Carolina School of Science & Math January 21,1982 Stentorian Interview Math Colloquium by Cathy Moses Following a January 8th Board of Trustees meeting, The NCSSM Math Department has arranged a unique new trustee George Watts Hill, grandson of George lecture program on various topics in mathematics. Washington Hill and Valinda Beall Watts, founders of Watts Scheduled for each Tuesday, the program features speakers Hospital, was interviewed by the Stentorian concerning his from Duke, East Carolina, N. C. State, and UNC-Chapel Hill, position as a new trustee. One question you may wonder in conjunction with the talks, students may select the about is "What exactly does a trustee do?" A trustee sets Mathematics Colloquium as a second semester course and the policy for the school, paying careful attention not acquire course credit for their participation. The course to interfere with the day-to-day administration of the will be graded on a satisfactory/unsatisfactory basis. school and the students. The trustees are diversified The guidelines set for a student to receive a satisfactory people as illustrated by this one interview, and many grade and course credit are as follows: curiosities can be satisfied by "talking with a trustee." 1) attendance of ^t least b0%of the lectures 2) independent study of a topic selected by the Stentorian: What interest did your grandparents have in student and his/her math teacher founding the hospital? 3) preparation of a paper on the approved topic Mr. Hill: My grandmother was very frail, and people went 4) presentation of the paper to students of the to, in those days, Johns Hopkins in Baltimore.
    [Show full text]
  • Schmidgall, Introduction Literature As Opera
    Anything can be set to music, true, but not everything will be effective. Giuseppe Verdi Literature and Opera In the 188os Emmanuel Chabrier addressed Shakespeare's last and perhaps greatest play with the idea of turning it into an opera. He wrote to his publisher explaining his views about its stage-worthiness: I now know The Tempest by heart; there are many good things in it, but Blau has reason to want some expanding of the love story, other- wise papa Prospero would get to be a bore. As for drama properly so called, where is it? Are they genuinely dramatic, those conspiracies of the old fogies Alonzo, Antonio, Gonzalo, Stefano? And those two debauchees Caliban and Interpocula [i.e., Trinculo]—who cares about their peregrinations around the island? So the interest will have to be spiced up elsewhere: first, in the idyll between Ferdinand and Miralda [sic] which is of the finest order; second, in the whole nuptial atmosphere and the spirits of air in Act IV; third, in the buffoonery with the drunkards. Is that enough to make an opera?' The answer to the question appears to have been no. Chabrier never wrote his Tempest opera, and—to judge from his cavalier and omi- nously bumptious attitude—we can be thankful he did not. His letter is a reminder that when masterly literature is taken up for op- eratic treatment, literary values do not necessarily loom importantly in the process. In this case the composer seemed almost completely oblivious to the complicated levels of meaning in the source and has focused upon the least interesting aspects of the action: the clowning scenes and the Ferdinand-Miranda love affair, surely the most insipid in all Shakespeare.
    [Show full text]
  • The Iliad with an English Translation
    ®od^ ^.omertbe ju fctn, aud& nut aU lehtn, ift fc^en.-GoETHi HOMER THE ILIAD WITH AN ENGLISH TRANSLATION A. T. MURRAY, Ph.D. PEOFESSOR OV CLASSICAL LITERATURK, STANFORD UNIVERSITIT, CALIFORNIA LONDON : WILLIAM HEINEMANN LTD NEW YORK: G. P. PUTNAM'S SONS MCMXXVIII CONTENTS OF VOLUME I Introduction Vil 2 Book I. 50 Book II. 116 Book III, 152 Book IV. Book V. 194 Book VI. 262 Book VIL 302 Book VIII. 338 Book IX. 382 Book X. 436 Book XL 480 Book XII, 544 INTRODUCTION In rendering the Iliad the translator has in the main followed the same principles as those which guided him in his translation of the Odyssey. He has endeavoured to give a version that in some measure retains the flowing ease and simple directness of Homer's style, and that has due regard to the emphasis attaching to the arrangement of words in the original ; and to make use of a diction that, while elevated, is, he trusts, not stilted. To attain to the nobility of Homer's manner may well be beyond the possibilities of modern English prose. Matters of a controversial nature have as a rule not been touched upon in the notes to this edition, and the brief bibhography is meant merely to sug- gest books of high interest and value to the student of the Iliad. Few of those which deal primarily with the higher criticism have been included, because the ti'anslator is convinced that such matters lie wholly outside the scope of this book. In the brief introduction prefixed to his version of the Odyssey the translator set forth frankly the fact that to many scholars it seems impossible to speak of Homer as a definite individual, or to accept the view that in the early period either the Iliad or the Odyssey had attained a fixed form.
    [Show full text]
  • Dutch Governmentality
    Frédérique Schless Master’s Thesis COMPASS Dr. J.K. Helderman s3044203 26 September 2016 DUTCH GOVERNMENTALITY An analysis of the mythologizing and de-mythologizing aspects of the polder model Frédérique Schless, s3044203 Content page Preface 3 Chapter 1 Introduction 4 1.1 Origin of the Polder Model 4 1.2 Research Questions 5 1.2.1 Governmentality 6 1.2.2 Political myth 7 1.2.3 Collective Memory 7 1.2.4 Neo-Corporatism 7 1.3 Methodology 8 1.4 Outline of Thesis 8 Chapter 2 Governmentality of the Polder Model: A Theoretical Approach 10 2.1 Governmentality 10 2.2 Political Myths 14 2.3 Collective Memory and Identities 17 2.4 Neo-Corporatism 19 2.5 Problematizing the Polder Model 22 2.6 Conclusion 24 Chapter 3 Methodology 26 3.1 Conceptualization 26 3.2 Operationalization 28 3.2.1 Pilot Reliability 31 3.3 Unit of Analysis: Actors 32 3.4 Unit of Sampling: Newspapers 32 3.5 Conclusion 33 Chapter 4 A Political Sociological Introduction of the Polder Model 34 4.1 The Dutch Consultation Economy 34 4.2 The Problem with the Polder Model 36 4.3 Advantages and Disadvantages of the Polder Model 37 1 Frédérique Schless, s3044203 4.4 Polder Model and Dutch Identity 39 4.5 Conclusion 40 Chapter 5 Mythologizing the Polder Model 41 5.1 Timeline of data 41 5.2 The Polder Model and Myth 46 5.2.1 Narrative 46 5.2.2 Policy Arena and Sector 48 5.2.4 Consensus, Harmony and Consultation 49 5.2.3 Actor Response and Position 50 5.3 Forming a Governmentality 51 5.4 Conclusion of Results 52 Chapter 6 Conclusion and Discussion 54 6.1 Answering the Research Question 54 6.2 Reflection on the Theories 57 6.3 Discussion 58 Chapter 7 Bibliography 59 Appendix A 62 Appendix B 66 2 Frédérique Schless, s3044203 Preface Combining ancient history and archaeology with public administration might seem silly, but it is convincingly very compatible - even more so than I ever expected.
    [Show full text]