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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).fb2

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).mobi

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).azw3

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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ia/senseofmusicsemi0000mone.pdf

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton, N.J.: Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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upload/degruyter/DeGruyter Partners/University of California Press [RETAIL]/10.1525_9780520954502.pdf

Common Spiders of North America Bradley, Richard A. University of California Press, 2012 dec 18

Spiders are among the most diverse groups of terrestrial invertebrates, yet they are among the least studied and understood. This first comprehensive guide to all 68 spider families in North America beautifully illustrates 469 of the most commonly encountered species. Group keys enable identification by web type and other observable details, and species descriptions include identification tips, typical habitat, geographic distribution, and behavioral notes. A concise illustrated introduction to spider biology and anatomy explains spider relationships. This book is a critical resource for curious naturalists who want to understand this ubiquitous and ecologically critical component of our biosphere.

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ia/turkeysmoderniza0000reis.pdf

Turkey's Modernization : Refugees From Nazism and Atatürk's Vision Arnold Reisman New Academia Publishing/ The Spring, Open Road Integrated Media, Inc., [N.p.], 2006

This historical study examines the lives of European Jews who found safe haven in Turkey and helped the nation transform in the years before WWII.Out of the ashes of the Ottoman Empire, Mustafa Kemal Ataturk formed the modern Republic of Turkey. As the nation's founding father and first president, he initiated numerous progressive reforms. In 1933, he welcomed German and Austrian Jews who fled the rise of antisemitic violence in their homelands. In Turkey'Modernization, historian Arnold Reisman chronicles the lives of some of these refugees as they pursued new lives in a new nation.Using archival documents, letters, memoirs, oral histories, photos, and other surviving evidence, Arnold Reisman sheds light on courage and determination of these individuals, as well as their important contributions in several fields of knowledge. With a clear-eyed analysis of Turkey's achievements and shortcomings, Reisman also speculates about its inability to fully capitalize on these emigres'legacy.“This book adds to our knowledge of an important aspect of the Holocaust, and of the behavior of Nation States in the modern world of woe and grief.” —Sir Martin Gilbert, Winston Churchill's official biographer

英语 [en] · PDF · 38.8MB · 2006 · 📗 未知类型的图书 · 🚀/ia · Save

lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).epub

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).pdf

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

英语 [en] · PDF · 2.3MB · 2000 · 📘 非小说类图书 · 🚀/lgli/zlib · Save

lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).lit

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

英语 [en] · LIT · 0.4MB · 2000 · 📘 非小说类图书 · 🚀/lgli/zlib · Save

lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).mobi

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).azw3

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, November 15, 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Raymond Monelle Robert Hatten - The Sense Of Music Semiotic Essays Princeton University Press 2000.pdf

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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The Sense Of Music Semiotic Essays Princeton University Press 2000 Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Monelle, Raymond, - The Sense of Music (2000, Princeton University Press).lit

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Unknown - Raymond Monelle Robert Hatten The Sense Of Music Semiotic Essays Princeton University Press 2000.lit

Raymond Monelle Robert Hatten The Sense Of Music Semiotic Essays Princeton University Press 2000 Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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The Sense Of Music Semiotic Essays Princeton University Press 2000 Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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lgli/Raymond Monelle Robert Hatten - The Sense Of Music Semiotic Essays Princeton University Press 2000.mobi

The Sense Of Music Semiotic Essays Princeton University Press 2000 Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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upload/alexandrina/Collections/Project-Muse/Penn State University Press/Supernatural Entertainments- Victorian Spiritualism and the Rise of Modern Media Culture.pdf

Supernatural Entertainments : Victorian Spiritualism and the Rise of Modern Media Culture Natale, Simone The Pennsylvania State University Press, Pennsylvania State University Press, University Park, Pennsylvania, 2016

In Supernatural Entertainments , Simone Natale vividly depicts spiritualism's rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism's explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

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lgli/Raymond Monelle; Robert Hatten (forward) - The Sense Of Music: Semiotic Essays.epub

The Sense of Music : Semiotic Essays Raymond Monelle; Robert Hatten (forward) Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

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ia/internationalhan0000unse_x7i4.pdf

International Handbook of Neuropsychological Rehabilitation (Critical Issues in Neuropsychology) (Critical Issues in Neuropsychology) Anne-Lise Christensen; Barbara P. Uzzell Kluwer Academic/Plenum Publishers; Springer, Springer Nature, New York, NY, 2013

I am extraordinarily pleased to have been asked by Drs. Christensen and Uzzell to write the foreword for this handbook. This handbook is the result of the most recent of a series of con ferences held in Copenhagen, Denmark, at five-year intervals over the past 15 years, under the guidance and leadership of Dr. Anne-Lise Christensen, and under the sponsorship of the Egmont Foundation, which must be acknowledged as well for its constant support of this in ternational effort. The participants in these conferences are all internationally renowned clinicians and sci entists. These experts represent not only the area of neuropsychology, but disciplines ranging from fundamental neurophysiology and neuroanatomy, to medical and financial perspectives on neurological injury and recovery. The participants have, to a significant extent, remained re markably constant over this period, and this has allowed increasing intimacy among them both professionally and personally. One felicitous result of this camaraderie has been that the con ferences have evolved with an increased focus on topics of the broadest interest across disci plines. One aspect of such a continuing dialogue across disciplines is that specific areas of mutual interest are explored in depth, allowing cross-fertilization of ideas to occur. Erscheinungsdatum: 31.08.1999

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upload/degruyter/DeGruyter Partners/Penn State University Press [RETAIL]/10.1515_9780271077390.pdf

Supernatural Entertainments : Victorian Spiritualism and the Rise of Modern Media Culture Simone Natale The Pennsylvania State University Press, Pennsylvania State University Press, University Park, Pennsylvania, 2016

In __Supernatural Entertainments__, Simone Natale vividly depicts spiritualism’s rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism’s explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

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Supernatural Entertainments : Victorian Spiritualism and the Rise of Modern Media Culture Simone Natale The Pennsylvania State University Press, Hardcover, 2016

In __Supernatural Entertainments__, Simone Natale vividly depicts spiritualism’s rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism’s explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

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nexusstc/The Sense of Music/b3a3d5d56d2c62f284b32a018f868767.pdf

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

英语 [en] · PDF · 1.1MB · 2000 · 📘 非小说类图书 · 🚀/lgli/lgrs/nexusstc/zlib · Save

nexusstc/The Sense of Music/bcab8b1a4e71be0898ba4e92ac5f4135.pdf

The Sense of Music : Semiotic Essays Raymond Monelle; with a foreword by Robert Hatten Princeton University Press, Princeton University Press, Princeton, N.J., 2000

Annotation. The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history

英语 [en] · PDF · 1.4MB · 2000 · 📘 非小说类图书 · 🚀/lgli/lgrs/nexusstc/zlib · Save

upload/bibliotik/R/Richard A. Bradley - Common Spiders of North America.epub

Common Spiders of North America Richard A. Bradley; illustrations by Steve Buchanon; sponsored by the American Arachnological Society University of California Press, First, First Edition, PS, 2012

Spiders Are Among The Most Diverse Groups Of Terrestrial Invertebrates, Yet They Are Among The Least Studied And Understood. This First Comprehensive Guide To All 68 Spider Families In North America Beautifully Illustrates 469 Of The Most Commonly Encountered Species. Group Keys Enable Identification By Web Type And Other Observable Details, And Species Descriptions Include Identification Tips, Typical Habitat, Geographic Distribution, And Behavioral Notes. A Concise Illustrated Introduction To Spider Biology And Anatomy Explains Spider Relationships. This Book Is A Critical Resource For Curious Naturalists Who Want To Understand This Ubiquitous And Ecologically Critical Component Of Our Biosphere. Machine Generated Contents Note: Finding, Studying, And Identifying Spiders -- Spiders: An Introduction -- Finding And Studying Spiders -- Identifying Spiders -- Keys To Families Within Groups -- Under Debris Group -- Space-filling Web Group -- Sheet Weavers Group -- Orb-shaped Web Group -- Funnel-shaped Web Group -- Six-eyed Spiders Group -- Jumping Spiders Group -- Crablike Spiders Group -- Surface Hunters Group -- Ground Hunters Group -- Foliage Hunters Group -- Mygalomorph Group -- Tiny Spiders Group -- Spider Accounts -- Family Agelenidae -- Funnel Weavers -- Family Amaurobiidae -- Hackledmesh Weavers -- Family Amphinectidae -- Amphinectids -- Family Anapidae -- Ground Orbweavers -- Family Antrodiaetidae -- Foldingdoor Trapdoor Spiders -- Family Anyphaenidae -- Ghost Spiders -- Family Araneidae -- Orbweavers -- Family Atypidae -- Purseweb Spiders -- Family Caponiidae -- Bright Lungless Spiders -- Family Clubionidae -- Sac Spiders -- Family Corinnidae -- Antmimic Spiders --^ Richard A. Bradley ; Illustrations By Steve Buchanon ; Sponsored By The American Arachnological Society. Includes Bibliographical References (p. 257-259) And Index. Also Issued Online.

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upload/alexandrina/Collections/Project-Muse/Princeton University Press/The Sense of Music- Semiotic Essays.pdf

The Sense of Music : Semiotic Essays Hatten, Robert S.;Monelle, Raymond Princeton University Press, 2018

Cover 1 Title Page, Frontispiece, Copyright, Dedication, Quote 2 Contents 10 Foreword 12 Preface 16 1 The Wordless Song 20 2 The Search for Topics 31 3 Topic and Leitmotiv 58 4 The Temporal Image 98 5 Genre and Structure 132 6 Text and Subjectivity 164 7 Mahler and Gustav 187 8 Allegory and Deconstruction 213 9 New Beginnings 244 Bibliography 250 Index 260 Publisher:Princeton University Press,Published:2010,ISBN:9781400824038,Related ISBN:9780691057163,Language:English,OCLC:52256483 The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history.

英语 [en] · PDF · 2.3MB · 2018 · 📘 非小说类图书 · 🚀/lgli/upload/zlib · Save