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Haunted by the death of a friend's daughter, Rainer Maria Rilke spent three feverish weeks writing Sonnets to Orpheus. At around the same time, he completed The Duino Elegies, which offer meditations on love, death, God, and the meaning of life. Intimately connected in themes, these verses are regarded as the poet's masterpieces and appear here in the acclaimed translations by Jessie Lemont.

Written in three weeks of creative inspiration, Rainer Maria Rilke's Sonnets to Orpheus (1923) is well known for its enigmatic power and lyrical intensity. The essays in this volume forge a new path in illuminating the philosophical significance of this late masterpiece. Contributions illustrate the unique character and importance of the Sonnets, their philosophical import, as well as their significant connections to the Duino Elegies (completed in the same period). The volume features eight essays by philosophers, literary critics, and Rilke scholars, which approach a number of the central themes and motifs of the Sonnets as well as the significance of their formal and technical qualities. An introductory essay (co-authored by the editors) situates the book in the context of philosophical poetics, the reception of Rilke as a philosophical poet, and the place of the Sonnets in Rilke's oeuvre. Above all, this volume's premise is that an interdisciplinary approach to poetry and, more specifically, to Rilke's Sonnets, can facilitate crucial insights with the potential to expand the horizons of philosophy and criticism. Essays elucidate the relevance of the Sonnets to such wide-ranging topics as phenomenology and existentialism, hermeneutics and philosophy of language, philosophy of mythology, metaphysics, Modernist aesthetics, feminism, ecocriticism, animal ethics, and the philosophy of technology.

Written in three weeks of creative inspiration, Rainer Maria Rilke's Sonnets to Orpheus (1923) is well known for its enigmatic power and lyrical intensity. The essays in this volume forge a new path in illuminating the philosophical significance of this late masterpiece. Contributions illustrate the unique character and importance of the Sonnets, their philosophical import, as well as their significant connections to the Duino Elegies (completed in the same period). The volume features eight essays by philosophers, literary critics, and Rilke scholars, which approach a number of the central themes and motifs of the Sonnets as well as the significance of their formal and technical qualities. An introductory essay (co-authored by the editors) situates the book in the context of philosophical poetics, the reception of Rilke as a philosophical poet, and the place of the Sonnets in Rilke's oeuvre. Above all, this volume's premise is that an interdisciplinary approach to poetry and, more specifically, to Rilke's Sonnets, can facilitate crucial insights with the potential to expand the horizons of philosophy and criticism. Essays elucidate the relevance of the Sonnets to such wide-ranging topics as phenomenology and existentialism, hermeneutics and philosophy of language, philosophy of mythology, metaphysics, Modernist aesthetics, feminism, ecocriticism, animal ethics, and the philosophy of technology.

for unison voices and piano or string orchestra

The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries. Agnew persuasively connects the English traveler and music scholar Charles Burney with the ancient myth of Orpheus. She uses Burney as a guide through wide-ranging discussions of eighteenth-century musical travel, views on music's curative powers, interest in non-European music, and concerns about cultural identity. Arguing that what people said about music was central to some of the great Enlightenment debates surrounding such issues as human agency, cultural difference, and national identity, Agnew adds a new dimension to postcolonial studies, which has typically emphasized the literary and visual at the expense of the aural. She also demonstrates that these discussions must be viewed in context at the era's broad and well-entrenched transnational network, and emphasizes the importance of travel literature in generating knowledge at the time. A new and radically interdisciplinary approach to the question of the power of music - its aesthetic and historical interpretations and political uses - Enlightenment Orpheus will appeal to students and scholars in historical musicology, ethnomusicology, German studies, eighteenth-century history, and comparative studies.

Winner of the ASCAP Nicolas Slonimsky Award for Outstanding Musical BiographyThe musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. Orpheus in Manhattan, a fully objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. Steve Swayne draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and Swayne offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.

The myth of Orpheus articulates what social theorists have known since Plato: music matters. It is uniquely able to move us, to guide the imagination, to evoke memories, and to create spaces within which meaning is made. Popular music occupies a place of particular social and cultural significance. Christopher Partridge explores this significance, analyzing its complex relationships with the values and norms, texts and discourses, rituals and symbols, and codes and narratives of modern Western cultures. He shows how popular musics power to move, to agitate, to control listeners, to shape their identities, and to structure their everyday lives is central to constructions of the sacred and the profane. In particular, he argues that popular music can be important edgework, challenging dominant constructions of the sacred in modern societies. Drawing on a wide range of musicians and musical genres, as well as a number of theoretical approaches from critical musicology, cultural theory, sociology, theology, and the study of religion, The Lyre of Orpheus reveals the significance and the progressive potential of popular music.

The myth of Orpheus articulates what social theorists have known since Plato: music matters. It is uniquely able to move us, to guide the imagination, to evoke memories, and to create spaces within which meaning is made. Popular music occupies a place of particular social and cultural significance. Christopher Partridge explores this significance, analyzing its complex relationships with the values and norms, texts and discourses, rituals and symbols, and codes and narratives of modern Western cultures. He shows how popular musics power to move, to agitate, to control listeners, to shape their identities, and to structure their everyday lives is central to constructions of the sacred and the profane. In particular, he argues that popular music can be important edgework, challenging dominant constructions of the sacred in modern societies. Drawing on a wide range of musicians and musical genres, as well as a number of theoretical approaches from critical musicology, cultural theory, sociology, theology, and the study of religion, The Lyre of Orpheus reveals the significance and the progressive potential of popular music.

For a change Orpheus / listens to the other / musicians once the hum / of his lyre no longer / hangs like moss from branches / in the forest airIn New Songs for OrpheusJohn Reibetanz updates Ovid’s poetry. Ovid’s words showed him to be a person of deep empathy for natural, animal, and human worlds, and so Reibetanz posits that the Roman writer would likely be eager to take account of all that we have learned about them in the past two thousand years.Ovid would be familiar with recent discoveries about the complex inner lives and societies of non-human animals, and about the intricate interrelationships sustained in forests. The poems in New Songs for Orpheus look at and listen to the real creatures into which Ovid’s characters were transformed, acts viewed not as punishment or deprivation, but as a release into other intriguing forms of life. In the human realm, he might find a suitably cataclysmic counterpart to the Trojan War in the barbarities and sacrifices of World War II, or perhaps see an analogue to the Fall of Troy in the fall of the Two Towers in September 2001.The songs Orpheus sings then transform into more contemporary shapes, as characters and incidents from the Canadian musical Come from Away – like those in Ovid’s “restored” world after the flood – are celebrated in a reaffirmation of community after the divisive horrors of 9/11. In all these times and places, metamorphosis brings new meaning into a life, be it human, plant, or animal.

In the Footsteps of OrpheusThe Life and Times of Miklós RadnótiZsuzsanna OzsváthA powerful account of the life, art, and tragic death of a 20th-century Hungarian Jewish poet."Zsuzsanna Ozsváth bring[s] forth Radnóti's life, his thought, and his passion with a depth of insight that is rare in a scholar. Brilliant, penetrating, and passionate, Ozsváth's book sets a new standard of excellence in Holocaust studies. It is a must for anyone who would approach the dark flame that burns at the core of the Event." —David Patterson, University of Memphis Miklós Radnóti, a young Hungarian Jewish poet, was shot by Hungarian soldiers guarding him while on a forced march from Yugoslavia back to Hungary during the final days of World War II. When his body was discovered and exhumed nearly two years later, a small book of poems was found in his coat pocket. These poems, together with the rest of Radnóti's work, solidified his reputation as one of Hungary's greatest poets. Radnóti shared the experience of many Jewish artists and intellectuals in Central Europe during the early part of the 20th century, but his poetry brings out a particular and personal view of the Holocaust in Hungary. His work plays a unique role in the history of Central European culture as some of the most beautiful poems ever written in Hungarian, as a voice against the rise of totalitarianism, and as testimony to the destruction of Europe's Jews. Zsuzsanna Ozsváth places Radnóti within the context of the political and intellectual history of interwar Hungary, situating him as an artist who is both a Jew and a Hungarian patriot. Her sensitive translations from the Hungarian lend poignancy to this tragic and forcefully told story. This account of Radnóti's life and work explores the sources of the poet's inspiration and imagery and restores it to its extreme times and places.Zsuzsanna Ozsváth is Professor of Literature and the History of Ideas at the University of Texas at Dallas, where she is also Director of the Holocaust Studies Program. She is coeditor and cotranslator (with Frederick Turner) of Foamy Sky: The Major Poems of Miklós Radnóti and Attila Jozsef's The Iron-Blue Vault: Selected Poetry.Jewish Literature and Culture—Alvin H. Rosenfeld, editorContentsMyth and ConsciousnessPoetic Images: Socialist Art and Political CommitmentThe Pull of Contraries: Making of the PastVisions of Destruction, Lyrics of ResistanceIn Extremis: 1944

Robert Finn's translation of Turkish author Nazli Eray's OrphÉe makes available to the English-language reader a rewriting of the myth from the perspective of Eurydice, the wife of Orpheus. Eray's surrealistic version takes place in a hot resort town in contemporary Turkey. The setting of an archaeological dig gives a connection to the past and literally to the underworld. Found in the dig is a statue of the Roman emperor Hadrian, who proceeds to offer an unusual perspective on modern life and values through mysterious letters carried by a messenger pigeon. Eray also comments on modernity, as the city of Ankara emerges as a character in the novel's fantasy. Set in junta-ruled Turkey of the 1980s, the novel takes its place as a crucial slice of Turkish literary history. Resonating with haunting references to the film Last Tango in Paris, the novel evolves as a mystery story with a humorous bent. Thus Eray illuminates her insatiable curiosity about other cultures, particularly those of the West. Finally, the style of the translation is simple and clear, with crisp dialogue. Sibel Erol, professor of Turkish literature at New York University, has written an introduction that places this fantastic plot in a literary context, as well as in understandable terms that relate to the reality of today's Turkey.

In this book, the first edition of which was published in 1971 by Oxford University Press, Ihab Hassan takes Orphic dismemberment and regeneration as his metaphor for a radical crisis in art and language, culture and consciousness, which prefigures postmodern literature. The modern Orpheus, he writes, “sings on a lyre without strings.” Thus, his sensitive critique traces a hypothetical line from Sade through four modern authors—Hemingway, Kafka, Genet, and Beckett—to a literature still to come. But the line also breaks into two Interludes, one concerning ’Pataphysics, Dada, and Surrealism, and the other concerning Existentialism and Aliterature.Combining literary history, brief biography, and critical analysis, Hassan surrounds these authors with a complement of avant-garde writers whose works also foreshadow the postmodern temper. These include Jarry, Apollinaire, Tzara, Breton, Sartre, Camus, Nathalie Sarraute, Robbe-Grillet, and in America, Cage, Salinger, Ginsberg, Barth, and Burroughs. Hassan takes account also of related contemporary developments in art, music, and philosophy, and of many works of literary theory and criticism.For this new edition, Hassan has added a new preface and postface on the developing character of postmodernism, a concept which has gained currency since the first edition of this work, and which he himself has done much to theorize.

Barbara Cellarius provides an ethnographic description of village life and conservation efforts in an ecologically important region of one of the most biologically diverse countries in Europe. She describes the ways in which the lives of residents of a rural community are affected by outside forces, particularly the economic and political uncertainties that have plagued Bulgaria since the collapse of communism. She examines larger forces, including environmental non-governmental organizations, interested in linking global conservation priorities with local communities.

In this prizewinning book, leading musical, theatrical, and literary scholars here examine different aspects of the life and work of Kurt Weill, one of the most controversial composers of the twentieth century. Making use of documentary material now available for the first time, the contributors present startling revelations not only about Weill’s career but also about his many collaborators—among them Brecht, Kaiser, Reinhardt, Werfel, Ira Gershwin, Klemperer, Moss Hart, and Elisabeth Hauptmann. "A welcome resource on the work of Kurt Weill, reflecting as it does the 'state of the art' in Weill scholarship. It provides new insights and observations on the legacy of an important and versatile composer."—Michale Colby, Notes"Anyone interested in opera should find . . .  the book rewarding."—George Martin, Opera Quarterly"Enormously stimulating and provocative."—Richard Taruskin, Kurt Weill Newsletter"[A] probing and comprehensive collection of essays. . . . A seminal collection of essays."—Robert Henderson, Telegraph [London]"Fascinating, informative, thought-provoking, and illuminating."—Opera Canada

The first book to feature Jacob Lawrence’s Nigeria series, this richly illustrated volume also highlights Africa’s place as a global center of modernist art and culture  This revelatory book shines a light on the understudied but important influence of African Modernism on the work of Black American artist Jacob Lawrence (1917–2000). In 1965, a New York gallery displayed Lawrence’s Nigeria series: eight tempera paintings of Lagos and Ibadan marketplaces that were the culmination of an eight-month stay in Nigeria. Lawrence’s residency put him in touch with the Mbari Artists and Writers Club, an international consortium of artists and writers in post-independence Nigeria that published the arts journal Black Orpheus.  This volume and accompanying exhibition place the Nigeria series alongside issues of Black Orpheus and artwork created by Mbari Club artists, including Uche Okeke, Jacob Afolabi, Susanne Wenger, and Naoko Matsubara. Essayists explore the influence of Africa’s post-colonial movement on American modernists and developing African artists; the women of the Mbari group; and the importance of art publications in circulating knowledge globally.  Published in association with the Chrysler Museum of Art and the New Orleans Museum of Art  Exhibition Schedule:  Chrysler Museum of Art(October 7, 2022–January 8, 2023)  New Orleans Museum of Art(February 10–May 7, 2023)  Toledo Museum of Art(June 3–September 3, 2023)

From the bestselling M. R. Carey, winner of the Philip K. Award, comes an epic and exhilarating science fiction tale about a distant colony planet at war with itself - where one half is forever in sunlight and the other in endless night.HUMANITY CAN'T SURVIVE THE NIGHTSIDEOn the distant colony world of Tessix, the sun never moves in the sky. One side of the planet burns under endless noon, whilst the other is a frozen wasteland in perpetual darkness. Human life is only possible in a narrow strip of land where the terraforming project almost worked.Growing up on the borderland between light and dark, under the fading sun globes of Tanner's Hook, fifteen-year-old Bead Plessey clings to his friends and his fantasies. Bead dreams of one day escaping the grim realities of life on Tessix - the declining population, the ruthless autocracy of the Noonday government, and the monstrous Daspa that come out of the nightside to feed on human blood.When a stranger turns up at Bead's home asking for lodgings, he brings the possibility of change. But who is Jud Valery, and where has he come from? Is his interest in Bead benign or sinister? And how is he connected to the disappearance of Bead's mother, Omrid, eight years before? Looking for answers, Bead assembles an ill-assorted band of allies - but their investigation takes them far beyond Tanner's Hook, into the nightside and into the long-buried secrets that shaped their world.Discover this thrilling standalone science fiction novel from M. R. Carey, author of the Philip K. Dick Award-shortlisted Infinity Gate (a New York Times Science Fiction and Fantasy Book of the Year), perfect for fans of Adrian Tchaikovsky, Alasdair Reynolds and Peter F. Hamilton.Praise for M. R. Carey:'AN IMMENSE ACHIEVEMENT: AN IMPECCABLY CRAFTED BOOK' New York Times 'A GENUINE TREAT FOR SF FANS' Kirkus 'A FASCINATING WINDOW ONTO A DANGEROUS AND MULTIFACETED UNIVERSE' Adrian Tchaikovsky, author of Children of Time

From the bestselling M. R. Carey, winner of the Philip K. Award, comes an epic and exhilarating science fiction tale about a distant colony planet at war with itself - where one half is forever in sunlight and the other in endless night.HUMANITY CAN'T SURVIVE THE NIGHTSIDEOn the distant colony world of Tessix, the sun never moves in the sky. One side of the planet burns under endless noon, whilst the other is a frozen wasteland in perpetual darkness. Human life is only possible in a narrow strip of land where the terraforming project almost worked.Growing up on the borderland between light and dark, under the fading sun globes of Tanner's Hook, fifteen-year-old Bead Plessey clings to his friends and his fantasies. Bead dreams of one day escaping the grim realities of life on Tessix - the declining population, the ruthless autocracy of the Noonday government, and the monstrous Daspa that come out of the nightside to feed on human blood.When a stranger turns up at Bead's home asking for lodgings, he brings the possibility of change. But who is Jud Valery, and where has he come from? Is his interest in Bead benign or sinister? And how is he connected to the disappearance of Bead's mother, Omrid, eight years before? Looking for answers, Bead assembles an ill-assorted band of allies - but their investigation takes them far beyond Tanner's Hook, into the nightside and into the long-buried secrets that shaped their world.Discover this thrilling standalone science fiction novel from M. R. Carey, author of the Philip K. Dick Award-shortlisted Infinity Gate (a New York Times Science Fiction and Fantasy Book of the Year), perfect for fans of Adrian Tchaikovsky, Alasdair Reynolds and Peter F. Hamilton.Praise for M. R. Carey:'AN IMMENSE ACHIEVEMENT: AN IMPECCABLY CRAFTED BOOK' New York Times 'A GENUINE TREAT FOR SF FANS' Kirkus 'A FASCINATING WINDOW ONTO A DANGEROUS AND MULTIFACETED UNIVERSE' Adrian Tchaikovsky, author of Children of Time

Hailed at its premiere at the London Coliseum in 1986 as the most important musical and theatrical event of the decade, The Mask of Orpheus is undoubtedly a key work in Harrison Birtwistle's output. His subsequent stage and concert pieces demand to be evaluated in its light. Increasingly, it is also viewed as a key work in the development of opera since the Second World War, a work that pushed at the boundaries of what was possible in lyrical theatre. In its imaginative fusion of music, song, drama, myth, mime and electronics, it has become a beacon for many younger composers, and the object of wide critical attention. Jonathan Cross begins his detailed study of this 'lyric tragedy' by placing it in the wider context of the reception of the Orpheus myth. In particular, the significance of Orpheus for the twentieth century is discussed, and this provides the backdrop for an examination of Birtwistle's preoccupation with the story in a variety of works across his creative life. The sources and genesis of The Mask of Orpheus are explored. This is followed by a close reading of the work's three acts, analysing their structure and meaning, investigating the relationship between music, text and drama, drawing on Zinovieff's textual drafts and Birtwistle's compositional sketches. The book concludes by suggesting a range of contexts within which The Mask of Orpheus might be understood. Its central themes of time, memory and identity, loss, mourning and melancholy, touch a deep sensibility in late-modern society and culture. Interviews with the librettist and composer round off this important study.