Theodor Adorno is one of this century’s most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno’s insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume’s somewhat colloquial tone. This colloquialism, in dialogue with Adorno’s unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno’s method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today’s interdisciplinary studies.

Ask an old-timer what life was like in rural upstate New York during the nineteenth and early twentieth centuries and you will hear about the dances and bees that brought villagers and farmers together. You will hear of favorite fiddlers who held center stage with dance tunes taken from early British and American sources. You will hear of old-time music and its significance to a people making the transition from a rural, agricultural life to an urban, industrial one. Old-Time Music Makers of New York State is the first book published on this rich legacy of traditional Anglo-American music and dance. It traces the development of old-time music beginning with its movement into New York State from New England in the early nineteenth century and to its combination with commercial country music in the twentieth century. Exploring the regional character of the music and its meaning co the people who enjoy it, Bronner introduces memorable figures from the major periods in the development of old-time music, and he places their stories, their lives, and their music in the context of the region's cultural and historical changes. This is much more than a regional study, however. Bronner brings to the fore issues of national scope and interest. He discusses the relationship of old-time music to the commercial country music with which it has been closely aligned, and he challenges the prevailing wisdom that the origins of country music are in the South. Musician, fan, folklorist, and historian alike will benefit from and enjoy this book. The many musical transcriptions, annotations, photographs, and appendixes provide a valuable reference to be used again and again.

"The key methodological commitment of this book, then, is to the study of literary culture as a whole. From this follow certain other methodological consequences. Studying literary culture as a whole implies an attention to overall patterns more than to individual details. I thus regularly offer statistics and maps. While I do make many qualitative pronouncements, these are, with a few exceptions, generalizing and impressionistic, and not based on close readings. Studying the regularities of literary culture as a whole also implies adopting a perspective which need not have been available to the ancient actors themselves (they had pursued their own practices, without necessarily pausing to consider their literary culture as a whole). For this reason, I make no effort to identify the authors' concepts and am content to deploy my own observer's concepts throughout. The result is a book very different from traditional classical philology. The complex footnote with its plethora of primary and secondary sources is almost entirely avoided (my footnotes, instead, merely point to the key, recent studies with which the reader, wishing to pursue a point of detail, may begin her research ). Only rarely do I offer close readings of individual passages or reconstructions of the meanings of original terms. Fortunately for me, traditional philology now has few champions and I will not spend time arguing against the straw man of the philological critic. Instead, I will apologize to him "--

Winner, 2015 USC Book Award in Literary and Cultural Studies, for outstanding monograph published on Russia, Eastern Europe or Eurasia in the fields of literary and cultural studies The Ethics of Witnessing investigates the reactions of five important Polish diaristswriters—Jaroslaw Iwaszkiewicz, Maria Dabrowska, Aurelia Wylezynska, Zofia Nalkowska, and Stanislaw Rembek—during the period when the Nazis persecuted and murdered Warsaw’s Jewish population. The responses to the Holocaust of these prominent prewar authors extended from insistence on empathic interaction with victims to resentful detachment from Jewish suffering. Whereas some defied the dehumanization of the Jews and endeavored to maintain intersubjective relationships with the victims they attempted to rescue, others selfdeceptively evaded the Jewish plight. The Ethics of Witnessing examines the extent to which ideologies of humanism and nationalism informed the diarists’ perceptions, proposing that the reality of the Final Solution exposed the limits of both orientations and ultimately destroyed the ethical landscape shaped by the Enlightenment tradition, which promised the equality and fellowship of all human beings.

The scientific achievements of the modern world failed to impress the leading writers of this century, leaving them instead profoundly disturbed by a sense of lost values and of the insignificance of the individual in a universe seemingly indifferent to human concerns. In The Search for Selfhood in Modern Literature Roston explores the strategies adopted by such mid-century authors as Greene, Salinger, Osborne, Baldwin and others in their attempt to cope with the spiritual vacuity - strategies including the emergence of the anti-hero and of literary existentialism - and offer in the course of the investigation fascinatingly new insights into their work.

Selected interviews and essays of Marjorie Perloff, a well-known critic.

Laws, or Halakhah, and narratives, or Aggadah, comprise the Torah. Halakhah, normative law, makes the same statement in terms of behavior that Aggadah, in its systematic and abstract mode, makes in terms of beliefs. The Halakhic theology focuses on the interior existence of Israelite. In this sourcebook, author Jacob Neusner derives from details of legal expositions some of the Halakhah's theological propositions, in order to show how normative laws of conduct express the narrative monotheism of the Torah. An introductory overview of the Halakhic theological program, seen through topical expositions of law, briefly compares Halakhic texts with Aggadic theological programs.

"First published in 1987, and encompassing texts from almost four decades, Kleist, moss, pheasants brings together autobiographical pieces, diary entries and reflections on fellow authors by Ilse Aichinger. As Richard Reichensperger remarks, the volume demonstrates the complex interconnections between historical events and Aichinger's life, thought and writing. The style, tone, and force of Kleist, moss, pheasants foreshadow the major achievements of Aichinger's late productive period around the turn of the millennium, which are evidenced in Film and fate and Improbable journeys."--Back cover.

Arguing that all human beings are incorrigibly autobiographical and that the most common mode of autobiography is oral and partial, this book maps out the diversity of autobiographical practices and seeks to introduce them to teachers and educators.

Do Old Testament poetry and narrative, wisdom-writing and prophecy work on us in the same way as do nonbiblical literary texts? Competent readers over the centuries have arrived at conflicting answers to this question. Some (from Longinus on) have maintained that biblical books offer examples of supreme literary art; others have passionately rejected this approach, insisting that beauty and pleasure are not the Bible's business. Poetry with a Purpose argues that, paradoxically, both views are right. Biblical poetics is marked by an unusual tension between aesthetic and nonaesthetic (even anti-aesthetic) modes of discourse. To understand this dialectic is to understand something quite fundamental about biblical texts and, more particularly, about the nature of the contract that governs their reading. The text summons the reader to respond to a familiar form but at the same instant undermines that response, deconstructs that form. The book of Ester, for example, displays the conventions of the Persian epic tradition, but its style is subtly challenged by the text itself. Similarly, the book of Job might seem to conform to the classical concept of tragedy but ultimately presents a uniquely biblical version of the form. While the prophets use the language of myth, they will often explode or "demythologize" their own language, affirming purposed at variance with the world of myth. Harold Fisch applies his remarkably fruitful thesis to a number of biblical texts and modes, among them biblical pastoral, the Song of Songs, Psalms, Hosea, and Ecclesiastes. Equally at home in biblical studies and in general literature and theory, the author has produced a highly original work of unusual range and scholarship.

Dan Miron's erudite and rich essay chronicles and analyzes the rise and fall of the prophetic poem in modern Hebrew literature. While focusing on H. N. Bialik's contribution to the rise and decline of the prophetic poem, Miron analyzes the historical, literary, and artistic factors influencing the fate of the prophetic poem from its ascendancy during the period of Hebrew Romanticism of the late 1890s and early 1900s to its decline in the post-World War I era and its eventual demise with the rise of the new poetics and the establishment of the State of Israel. In addition to Bialik, Miron discusses the works of Avraham Mapu, M.L. Lilienblum, Issac Irter, Shaul Tchernikhovsky, A. Shlonsky, U. Z. Greenberg, Yonatan Ratosh, Haim Gouri, and Amir Gilboa, among others.

A collection of writing from the world's leading authority on jazz and popular song, including previously unpublished work. The world's leading authority on jazz and popular song, Benny Green was a prolific writer whose material spanned every aspect of the musical arts. As an insider who knew and worked with most of his subjects, Benny wrote from a matchless personal perspective. Now, for the first time, previously unpublished writing joins sleevenotes and live reviews, books and obituaries in a unique collection put together by his son, Dominic, following Benny Green's death in 1998. Included in SUCH SWEET THUNDER are discussions on the great songwriters and leading jazz singers; the role of jazz in musicals; the leading jazz musicians. From Ella Fitzgerald to Frank Sinatra, Irving Berlin to Rodgers and Hammerstein, SUCH SWEET THUNDER is essential reading for all music fans.

"A new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices--of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons--whose music still resonates well into our present"--

"A new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices--of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons--whose music still resonates well into our present"--

"The Nazi Holocaust & the Exile of Yiddish is a history of the Algemeyne Entsiklopedye (General Encyclopedia, Berlin, Paris, & New York, 1932-1966), the only attempt to publish a comprehensive encyclopedia of universal knowledge in the Yiddish language. In the decade after World War I, the potential for Yiddish was seemingly limitless.The global number of speakers of Yiddish was estimated at between nine and ten million, with major communities in Poland, the Soviet Union, and the United States. But by the early 1930s, as Jews were becoming invested in their host states, a dramatic rise in antisemitism from the political right threatened their new status. Extreme nationalists sought to undo Jewish participation in civic life, limit Jewish migration and settlement, and contain - or even purge - Jews' political, economic, cultural, and racial influence. This combination of factors led many within the Yiddishist camp both to reassert their commitment to the language and to a distinct Jewish national identity, increasing the urgency for the Entsiklopedye's architects to embark upon their project. Uncertainty over the Jewish future began to be reflected in the Entsiklopedye itself. The volumes of 1936 and 1937 contain otherwise out-of-place monograph-length entries on the specifically Jewish topics of "Antisemitism" and "Land of Israel," presaging a shift away from general subjects and toward more specifically Jewish content. In September 1939, the German invasion of Poland cut the Entsiklopedye off from its major source of readers and trapped many of its contributors who were based there. Just as the second Yidn volume was being sent to subscribers in Spring 1940, Germany invaded France. Making matters even worse, the copies of the second Yidn volume were sent to the United States, and but most copies were lost at sea. A few volumes that had been sent via the regular mail arrived safely in New York, however. The encyclopedia's editors themselves fled and, after making a harrowing escape via Spain and Portugal, arrived in New York by late summer / early autumn 1940. With the end of World War II and as the enormity of the Nazi Holocaust was becoming understood, the editors decided that the Entsiklopedye should continue. The post-war Yidn volumes contain descriptive essays on Jewish life on the eve of the Holocaust, a study of Jewish life in the Americas, and the last two volumes (1964 and 1966) are historical overviews of the Holocaust. By the release of the final volume in 1966, few of the original editors of The Algemeyne Entsiklopedye were still alive. Many of the great Jewish scholars who contributed to the project had also passed. In the Foreword, the administrator of the Entsiklopedye Iser Goldberg outlined the task of future Jewish scholarship as one of creating a new corpus of work dedicated to the Holocaust. He declared that this project that once was to guide millions of Yiddish readers into the modern world was now dedicated to "the thousands of readers and subscribers in Jewish communities" with the much more modest goal of making "an important contribution to the growing khurbn [Holocaust] literature." By bringing this neglected and unique work of Jewish scholarship back into studies of modern Jewish history, Trachtenberg makes a significant contribution to current historiographical debates on the content and boundaries of Jewish knowledge in the tumultuous middle decades of the twentieth-century. In large measure because of the lack of researchers able to work in the Yiddish language, the significance and history of the Algemeyne Entsiklopedye has been overlooked, despite the fact that it was one of the great (and few) collaborative projects involving the twentieth century's most influential Jewish scholars. This monograph will inform recent scholarly discussions on the function of Yiddish before, during, and after World War II, on the extent to which Eastern European Jews turned away from Diaspora Nationalism on the eve of war, and to what degree Jews in the United States were "silent" in the decades following the Nazi Holocaust"--