OUP Oxford - Böcker

Most physiology textbooks tend to focus on a "snapshot" taken at a particular time of life under standard conditions. This text takes a unique approach to physiology, by empahasizing the adaptations to changing demands, such as age and environment. The ideal complement to standard physiology textbooks, it highlights the importance of considering stressful circumstances and conditions as an aid to understanding normal mechanisms more fully. A completely revised successor to the authors' Variations in Human Physiology, this new book is of immense value to students studying physiology on science courses or preclinical courses in medicine or dentistry.

The Third Reich, a regime which instigated the most destructive war in modern history, still evokes fascination and horror today. Yet how were the lives of ordinary German people of the 1930s and 1940s affected by the politics of Hitler and his folllowers? Looking beyond the catalogue of events, this book reveals that daily life involved a complex mixture of bribery and terror, of fear and concessions, of barbarism and appeals to conventional moral values, employed to maintain a grip upon society. The essays presented here by eight leading historians shed fresh light on familiar topics, the role of political violence in Nazi seizure of power, the German view of Hitler himself, and also focus upon less well-known aspects of life in the Third Reich, such as village life, the treatment of 'social outcasts', and the Germans own retrospective view of this period of their history.

Politics and Anger

Sketches France's political and intellectual development and comments on social divisions and customs from the late 1840's through the Second World War.

Analyzes the Frenchman's unique national identity, attitudes towards foreigners, education, and intellectual and cultural development from the late 1840's through the 1900's.

Pierre Boulez (born 1925) is a major figure in French musical life, being not only the leading French composer of his generation, but also an outstanding conductor. He is also a prolific writer on music, and this is a translation of his first collection of essays, published in France in 1966. In these essays Boulez worked out many of his most significant ideas about music, and he sets forth his views with characteristic intellectual vigour and acuity. The essays are divided into four parts, the first three concerned with a common preoccupation (aesthetic, technical, polemical), the last a collection of entries intended for a music encyclopaedia. Boulez writes mainly on the giants of twentieth-century music - Stravinsky, Schoenberg, Berg, Webern, Debussy, Messiaen, Ravel - and he offers penetrating and at times provocative analyses of some of their music and musical styles, such as neo-classicism and serialism. His illuminating comments arise from intimate knowledge of the music, and the resulting collection is an essential document of post-war modern music.

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy.Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts (including the problem of anti-Semitism). First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas.

This is the first collected edition of the writings of the poet, critic, and philosopher T. E. Hulme (1883-1917), a figure of huge importance in the formulation of modernist aesthetic and philosophical thought. This edition brings together for the first time all of Hulme's writings on poetry and language, philosophy, art, political theory, and the First World War. The volume includes thirteen works never before collected, such as Hulme's account of the 1911 Bologna Philosophical Congress, his essays critical of Bergson, his political writings, and his `War Notes'. It also restores to its original form and title Hulme's well-known `Humanism and the Religious Attitude', a piece which has until now only been generally available in a shortened and inaccurate version. The writings have been meticulously annotated and the edition is prefaced by an extensive biographical and critical introduction.

The contribution of women to Romantic poetry has been generally underestimated. Romantic Poetry by Women: A Bibliography, 1770 - 1835 provides the first complete record of the volumes of verse written by women and reveals the scale of their involvement in the Romantic movement. The Bibliography includes the work of around 900 authors , with biographical headnotes. It is fully indexed and cross-referenced, providing details of publication, indexes of publishers and places of publication, as well as of authors and titles. This will be an indispensable resource for all students of writing by women and of Romantic poetry in general.

What is the difference between a natural beginning and the beginning of a story? Some deny that there are any beginnings in nature, except perhaps for the origin of the universe itself, suggesting that elsewhere we have only a continuum of events, into which beginnings are variously `read' by different societies. This book argues that history is full of real beginnings but that poets and novelists are indeed free to begin their stories wherever they like. The ancient poet Homer laid down a rule for his successors when he began his epic by plunging in medias res, `into the midst of things'. Later writers, however, persistently play off the `interventionist', in medias res opening against some sense of a `deep', natural beginning: Genesis or the birth of a child. The author also outlines how the inspiring Muse of epic gives way to the poet's ego, dies, revives and dies again.Ranging from Greek and Roman epic to the modern novel via Dante, Milton, Wordsworth, Sterne and Dickens, A. D. Nuttall has written an ambitious and original book which will be of interest to a wide variety of readers.

It is now accepted that Shakespeare revised many of his most celebrated plays. But how were the great tragedies altered and with what effects?John Jones looks at the implications of Shakespeare's revisions for the reader and spectator alike and shows the playwright getting to grips with the problems of characterization and scene formation in such plays as Hamlet, Othello, King Lear, and Troilus and Cressida. In characteristically lucid and accessible prose, John Jones assesses recent textual scholarship on Shakespeare's revisions and illuminates the artistic impact of the revised texts and their importance for our understanding of each play's moral and metaphysical foundations.Shakespeare at Work brings together English literature's greatest writer and one of its most distinguished critics. the result is a book that will be essential and entertaining reading for scholars, students, and Shakespeare enthusiasts alike.

A century ago this year, productions of W. B. Yeats's The Countess Cathleen and Edward Martyn's The Heather Field inaugurated the Irish Literary Theatre, which was to take its name from its home in Abbey Street, Dublin. Despite riot, fire, and critical controversy, the Abbey Theatre has housed Ireland's National Theatre ever since: at once the catalyst and focus for the almost unprecedented renaissance of drama witnessed by Ireland in the twentieth century. This is the first history of the Abbey to discuss the plays and the personalities in their underlying historical and political context, to give due weight to the theatre's work in Irish, and to take stock of its artistic and financial development up to the present. The research for the book draws extensively on archive sources, especially the manuscript holdings on the Abbey at the National Library of Ireland. Many outstanding plays are examined, with detailed analysis of their form and their affective and emotional content; and persistent themes in the Abbey's output are identified - visions of an ideal community; the revival of Irish; the hunger for land and money; the restrictions of a society undergoing profound change. But these are integrated with accounts of the Abbey's people, from Yeats, Martyn, and Lady Gregory, whose brainchild it was, to the actors, playwrights, directors, and managers who have followed - among them the Fays, Synge, O'Casey, Murray, Robinson, Shiels, Johnston, Murphy, Molloy, Friel, McGuiness, Deevy, Carr, and many others. The role of directors and policy-makers, and the struggle for financial security, subsidy, and new-style 'partnerships', is discussed as a crucial part of the theatre's continuing evolution.

Conditions for Criticism studies changes in the practice of literary criticism in the nineteenth century and locates those changes within wider movements in British intellectual culture. The growth of knowledge and its subsequent institutionalization in universities produced new forms of intellectual authority. This book examines these processes in a wide variety of disciplines, including economics, historiography, sociology, psychology, and philosophical aesthetics, and explores their impact upon literary criticism. Its thesis is that the work of late nineteenth-century writers such as Walter Pater and Oscar Wilde can be best understood in terms of their engagement with, and reaction to, these general intellectual changes, a view which in its turn reveals the seriousness of their work.

A scholarly edition of a work by Tobias Smollett. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

In this passionate and tender book, John Jones discusses the narrative techniques and linguistic subtleties of the novels of Dostoevsky.

Callimachus: Hymn to Apollo: A Commentary

T. C. W. Stinton was a highly respected classical scholar who died in 1985. He was a Fellow of Wadham College, Oxford, for over thirty years and devoted his life to teaching, inspiring his pupils with his own passionate love for the classics. As well as generously encouraging the work and publications of others, he also spent much time himself in researching and writing, concentrating mainly on Greek tragedy.This volume presents twenty-six of Tom Stinton's essays and reviews, mainly on Greek tragedy, covering his work from 1960 until his death in 1985. The papers include `Euripides and the Judgement of Paris', `The Scope and Limits of Allusion in Greek Tragedy', `The Apotheosis of Heracles from the Pyre', and `Greek Tragic Texts and the Limits of Conservatism'. Sir Hugh Lloyd-Jones, formerly Regius Professor of Greek in the University of Oxford, has written a foreword especially for this collection.

The belief that a text is, or ought to be, a unity often plays a crucial role in literary interpretation and evaluation; but critics of classical literature do not seem sufficiently alert to the possibility that their criteria may be different from those which underlay the composition and reception of literary texts in the ancient world.The aim of this book is to reconstruct ancient Greek assumptions about literary unity. It discusses some literary examples, but its main concern is with ancient secondary texts - literary theory and criticism - undertaking a systematic survey from Plato and Aristotle down to the later Neoplatonists. There is also a brief review of the post-classical history of the concept of literary unity.

Sir Kenneth Dover, now Chancellor of the University of St Andrews, is an outstanding Greek scholar of international reputation. Among his many publications are books on Greek homosexuality and popular morality, and magisterial editions of Thucydides and Aristophanes. Former pupils and colleagues, themselves distinguished scholars (including Emeritus Professors A. Andrewes, I. G. Kidd, Sir Hugh Lloyd-Jones, D. A. Russell; Professors P. Barron, D. M. Lewis, D. M. MacDowell, R. G. M. Nisbet, M. L. West; and many others) have contributed to this seventieth-birthday tribute, on topics ranging from dramatic and other poetry to history, society, art, language, metre and rhythm, and texts and scholars.

In AD 8 Ovid's brilliant career was abruptly blasted when the Emperor Augustus banished him, for reasons never satisfactorily explained, to Tomis (Constanta) on the Black Sea. This is a new translation of the five books of Tristia (Sorrows) which express his reaction to this savage and, as he clearly regarded it, unjust sentence.The title of the Tristia belies them: though their ostensible theme is the misery and loneliness of exile, their real message, if they are read with the care they deserve, is one of affirmation. Both directly and, as befitted the Roman Callimachus, allusively, Ovid repeatedly asserts, often with a wit and irony that borders on defiance, his conviction of the injustice of his sentence and of the pre-eminence of the eternal values of poetry over the ephemeral dictates of an earthly power. These elegies are informed throughout by Ovid's awareness of, and continuing pride in, his poetic identity and mission. In technical skill and inventiveness they rank with the Art of Love or the Fasti. This is poetry as accomplished as anything he wrote in happier days and which demands no less critical respect.

This collection of essays examines various aspects of the Roman Republic and its constituent groups of citizens, and discusses the nature and significance of the revolution that converted it into a monarchy. Professor Brunt's view is that the Republic was not a mere oligarchy, and that popular elements and conceptions of freedom were more important than is commonly supposed. Rival politicians could not rely primarily on coteries of their fellow aristocrats and loyal dependents: they appealed in the name of the public good to the interests and sentiments of sections of the population - the Italians, men of property in general, peasants and soldiers, and the urban plebs. Increasingly violent conflicts, however, eventually made almost everyone willing to accept monarchy for the sake of peace and order.The revolution itself is shown to have resulted partly from the interplay of individual personalities and other contingent factors which elude full historical explanation, partly from political, social, and economic conditions, and partly from prevalent ideas. In succeeding chapters some of these factors are examined more closely. They include five rewritten or much revised versions of previously published articles concerned with the Italian allies, the Equites, the courts, the army, and amicitia. In addition there are three new essays on libertas, clientship, and factions.

Count Marcellinus and his Chronicle constitutes the first comprehensive study of Marcellinus, a courtier of the emperor Justinian, and his chronicle covering the eastern Roman world from AD 379 to 534. Marcellinus' chronicle provides a first-hand account of the Nika riots at Constantinople in 532, as well as other direct glimpses of political and religious life in the imperial capital in the early sixth century. It also testifies to the confrontations in the Balkans between the Romans and the Huns, Goths, and Bulgars. In this book Brian Croke develops a case for understanding Marcellinus' Latin chronicle as an essentially Byzantine document written by an educated imperial official and reflecting the cosmopolitan culture and society of sixth-century Constantinople. He approaches the chronicle as a historiographical text which is shaped by its genre, the expectations of its audience, and a coherent view of the past, deriving from the author's Christian culture and outlook. The book also explores the nature and function of chronicle writing as a distinct mode of Christian discourse which has been misunderstood and undervalued by modern scholarship. Separate attention is given to the anonymous continuation of the chronicle from 535 to 548, and to the subsequent use of Marcellinus' works in Ireland and Anglo-Saxon England.Croke also casts new light on the career of Marcellinus, his range of literary output which included books on topography and chronology, and the course and impact of the fifth- and sixth-century raids into Roman Illyricum. This book also enriches our understanding of society and politics in the imperial capital and raises broader questions about Christian life, liturgy, and culture in the sixth century, particularly the central role of imperial and religious ceremonial in Byzantine public life.

This book collects together ten contributions by leading scholars in the field of Alexander studies which represent the most advanced scholarship in this area. They span the gamut between historical reconstruction and historiographical research, and viewed as a whole represent a wide spectrum of methodology. This first English collection of essays on Alexander includes a comparison of the Spanish conquest of Mexico with the Macedonians in the east which examines the attitudes towards the subject peoples and the justification of conquest, an analysis of the attested conspiracies at the Macedonian and Persian courts, and studies of panhellenic ideology and the concept of kingship. There is a radical new interpretation of the hunting fresco from Tomb II at Vergina, and a new date for the pamphlet on Alexander's last days which ends the Alexander romance, and a re-interpretation of the bizarre portents of his death. Three chapters on historiography address the problem of interpreting Alexander's attested behaviour, the indirect source tradition used by Polybius, and the resonances of contemporary politics in the extant histories.

Although metafiction has been the subject of much critical and theoretical writing, this is the first full-length study of its place in Soviet literature.Focusing on metafictional works by Leonid Leonov, Marietta Shaginyan, Konstantin Vaginov, and Veniamin Kaverin, it examines, within a broadly Bakhtinian theoretical framework, the relationship between their self-consciousness and their cultural and political context. The texts are shown to challenge notions about the nature and function of literature fundamental to both Soviet and Anglo-American criticism. In particular, although metafictional strategies may seem designed to confirm assumptions about the aesthetic autonomy of the literary text, their effect is to reveal the shortcomings of such assumptions. The texts discussed take us beyond conventional understandings of metafiction by highlighting the need for a theoretically informed account of the history and reception of Soviet literature in which the inescapability of politics and ideology is no longer acknowledged grudgingly, but is instead celebrated.

This study is an examination of Baudelaire's art criticism and its relationship with his creative writing. It is the first book in English to treat in one volume the diverse aspects of the subject: the principal aesthetic ideas, the importance of Delacroix, Boudin, Meryon, Guys, and Manet, the essays on laughter and caricature, and the language and rhetoric of the Salons and other critical writings. The title reflects Baudelaire's conviction, which emphasizes in relation to Delacroix, Daumier, Guys, and Wagner, that all art, whether it is painting, poetry or music, springs from the memory of the artist and speaks to the memory of the consumer of that art. This idea, exemplified in his own creative writing, extends to criticism itself, which is seen primarily as a phenomenon of recognition, and it is that sense of recognition that the author has sought to emphasize throughout.

The Indigenous Public Sphere is a fascinating and innovative account of the connections between textuality and citizenship. Focusing on the reporting and reception of Aboriginal affairs in the media, it has major implications for rethinking the study of journalism and ethnicity in national politics and public life.The book is in three sections:Research: The authors explore the historical and theoretical context to show how nation, media, ethnicity and storytelling intersect, and how politics can no longer be understood by reference to the institutions of government alone. While centred on Australia, the analysis draws on comparable developments in the USA, Canada, Siberia and Scandinavia to provide some pointers towards best practice in the conduct of ethno-national dialogue with established nation-state polities.Reception: In a major new departure, the authors have evolved a 'parliamentary' method of audience research. Instead of investigating individual opinions or consumer attitudes, they seek to identify the collective or 'national' voice of Indigenous people. This section canvasses the public views of Indigenous leaders, community activists and media producers, gathered in a 'national media forum' designed to set a new agenda for the 'Indigenous public sphere.'Reporting: The findings of a three-year investigation of media coverage of Aboriginal and Islander affairs in Australia, across newspapers, magazines, radio and TV. The research includes a comprehensive survey of how journalism education, media codes of ethics, regulatory bodies and working journalists themselves deal with the reporting of Indigenous issues.Aboriginal people are massively over-represented in the media. That coverage is compromised not so much by media racism as by Indigenous people's unresolved national status. The Indigenous Public Sphere is thus a contribution to the growing literature on their claims to sovereignty, in the specific context of news and journalism - public story-telling that not only counts as true, but also speaks on behalf of 'the' nation.

The name of Francis Poulenc (1899-1963) was first brought to prominence in the 1920s as a member of Les Six, a group of young French composers encouraged by Satie and Cocteau. His subsequent fame spread well beyond France, and he is coming to be regarded as one of this century's most significant composers. His compositions are heard constantly in concert halls the world over, and numerous recordings, including complete sets of songs and piano music, have been released. Books, articles and more than a dozen doctoral dissertations have discussed his music.Carl Schmidt's catalogue of Poulenc's works represents the first comprehensive attempt to list an oeuvre which numbers approximately 185 compositions written from his teenage years until his death at the age of 63. The Catalogue indentifies a number of unpublished works, and adds a small group of compositions to his musical canon for the first time.Each work, whether complete or unfinished, published or unpublished, is described fully. Catalogue entries list and describe all known printed editions (including reprints) and manuscript copies of each work. In addition, they provide detailed compositional histories based on numerous letters, documents, and press accounts, many of which have not been published previously. Russian interest in Poulenc's music, manifested in press runs exceeding one million copies, is also revealed for the first time.

The Musician's Guide to Acoustics

Apart from providing an outlet for human emotions, does music have a use? Is a Mozart symphony intelligent, and is music a language? If so, what does it say and how does it say it? In this perceptive and revolutionary sequel to The Concept of Music, Robin Maconie teases out the musical science underlying subjects as diverse as Pythagoras's theorem, Plato's city state, mysteries of religion, myth, and folklore, theories of the mind, and key insights of Newton, Freud, and Wittgenstein. Western civilization is based on a foundation of universal laws derived from acoustics and hearing. Music is not only the product of that civilizing process but also the key to understanding the hidden structures and rituals of established belief. Beneath the surface of mass entertainment lie musical notations, images, instruments, and ensemble interactions to be understood afresh as models and mind games in an ongoing programme of scientfic discovery, information management, and social organization. That understanding is exciting in itself, has important educational and cultural implications, and is essential for future progress in musical composition.