A comprehensive collection of contemporary published reactions to the writing of William Faulkner from 1926 to 1962, these articles document the response of reviewers to specific works, and chronicle the development of Faulkner's reputation among the nation's book reviewers. It has often been assumed that a poor reception in the popular review publications contributed to Faulkner's lack of commercial success. The material presented here tends to refute that assumption, clarifying the development of Faulkner's literary career and providing a fuller understanding of the part played by book reviewing in the sales, promotion and success of American literature.
How relevant is classical music today? The genre seems in danger of becoming nothing more than a hobby for the social elite. Yet Kent Nagano has another world in mind – one where everyone has access t
This 1996 book provides a study and critical edition of the corpus of hymns sung by monks and canons in their services in England before the Norman Conquest. It assembles textual evidence, some of it hitherto unpublished, based on all extant manuscripts. Of these, an eleventh-century Latin manuscript known as the 'Durham Hymnal', with its accompanying Old English interlinear gloss, provides the core of the edition and its base manuscript. An introduction and commentary include descriptions of the manuscripts concerned and discussions of the sources, liturgical use, and music of the hymns, as well as the phonology and vocabulary of the Old English gloss. The text of the hymns is accompanied by a translation of the Latin into modern English prose.
The catalog of an exhibition of comic strips is accompanied by an essay tracing how the strips have commented on their own nature as cartoon art and on other strips
Brahms once complained that singers never performed his songs in the groups in which he had published them, which he likened to 'song bouquets'. Over a century later, many singers and musicologists continue to ignore Brahms's wishes and focus on the individual songs rather than the bouquet groups. This is a detailed study of the implications of Brahms's comments. Following an examination of contemporary aesthetic and generic frameworks, the book traces Brahms's Lieder from their conception, to the arrangement into bouquets, to performance and reception, and examines the sometimes contradictory roles played by poet, composer, performer and recipient in creating coherence in song collections. An investigation of the graphic cycles of Max Klinger reveals a startling visual analogue of Brahms's conception of the song bouquet, and a final examination of the evidence of Brahms's aesthetic outlook reveals that his intentions may have been cyclic in more than one sense.
