In a revised version of his 2008 PhD dissertation in philosophy at Rheinischen Friedrick-Wilhelms-U., Bonn, Wiater explores the ideological foundation of the well-known classical style of Greek histor
This 1992 book analyses the relation between an emergent modern subjectivity in seventeenth-century French literature, particularly in dramatic works, and the contemporaneous evolution of the absolutist state. It shows how major writers of the Classical period (Corneille, Racine, Moliere, Lafayette) elaborate a new subject in and through their representations of the family, and argues that the family serves as the mediating locus of a patriarchal ideology of sexual and political containment. Most importantly, it asks why the theatre became the privileged form of representation in this state, and why this theatre concentrates almost exclusively on family conflict. Professor Greenberg argues that the narrative of oedipal sexuality and subjugation central to this new literary canon reflected the conflicting social, political and economic forces that were shifting European society away from the universe of the Renaissance and guiding it towards the 'transparency' of Classical representatio
This book places the radicalization of art music in early post-war France in its broader socio-cultural and political context. It pursues two general and intersecting lines of inquiry. The first details the stances towards musical conservatism and innovation adopted by cultural strategists representing Western and Soviet ideological interests at the onset of the Cold War. The second, which draws upon the commentaries of Theodor Adorno and Jean-Paul Sartre, recognizes that the Cold War generated a heightened political awareness amongst French musicians at the very time when the social relevance of avant-garde music had become the subject of widespread debate. The study considers the implications of the performance at L'Oeuvre du XXe siècle, an international arts festival staged in Paris in 1952 with the intention of discrediting socialist realism by means of two opposing musical types: neo-classicism (represented by Stravinsky's Symphony in C) and serialism (Boulez's Structures 1a).
The reign of James I (1603-25) has long been overshadowed by the prior glory of Elizabeth and the later outbreak of the Civil War. Yet how, without understanding the Jacobean court, are we to understand the world of Jonson, Donne and the late Shakespeare, divine right theory, court scandal and reform, appeals to the ancient constitution and reason of state, arguments from necessity and parliamentary precedent, chivalric nostalgia and classicism, mannerist excess and baroque grandeur? In this volume an international group of specialists in history literature and political theory set about reconstructing the mental world of the Jacobean court and challenging older orthodoxies on Jacobean politics, ideology, religion and culture. While the volume marks fresh departures in the study of the Jacobean court, it makes no attempt to offer a comprehensive study of the era. Rather, it presents chapters of original research, strongly interpretive in character, and sometimes in disagreement. There
