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performative-truth

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Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... persuasive point. Yet the key questions driving each endeavor since the university s founding in 1811 remained unan- swered, despite decades of enquiry and experi- ment: What is truth in our intuitions and thought? And in what sense do our ideas corre- spond to reality Natural science and philoso- phy...
Journal Articles
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
..., is seen to be fatally lacking in the things that make music valu- able. It is neither structurally conceived, har- monically rich, nor intended to expose meaningful truths about the human condition. Scholars who have described the Gazette s crit- icism seem to tacitly approve of its depiction of Herz...
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
... star both sings and oth- erwise portrays the amateur onscreen. This par- adox can engender additional insight into 4Robert Rosenstone, Inventing Historical Truth on the Silver Screen, in J. E. Smyth, Hollywood and the American Historical Film (New York: Palgrave Macmillan, 2012), 183 91, at 184...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
... Jeffrey M. Masson, The Assault on Truth: Freud s Suppression of the Seduction Theory (London: Fontana, an imprint of Harper Collins Publishers, 1984), 23 24. months after he went public with it in 1897; the reasons for this change of mind remain a source of debate for scholars even today.55 Freud would...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
.... Ruskin s sentimental heart is worn on a sleeve tailored from the finest fabric. Turner s images of twilight con- firmed for him, however, that beauty alone was insufficient, that emotional truth was also essential. In the fourth volume of Modern Painters, on the Turnerian Picturesque, he argues that...
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
... scientific practices, and the architectural feat of writ- ing (including activities of selection and narra- tivization). History thus functions as a kind of performative substitute for the past expressed on the terms of the present. For de Certeau, history and anthropology are united not only by these...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... the old man s disproportionate reaction when he learns the truth ( To these accursed charms, my child, you have handed yourself over the vocal tension, accompanied by a lively crescendo in the orchestra elicits this simple comment: (He s getting aroused (il s excite!, III, 204). Ulti- mately Chabrier...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... in his relentless search for a kernel of truth to explain his patient s suffering. 35 MICHAEL KLEIN Chopin Fragments ghost of his departed lover. The poet in The Raven is like the unfortunate father in Freud s The Interpretation of Dreams, who falls asleep in a room adjoining that of his deceased...
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... Thought, in his Aesthetics and Subjectivity from Kant to Nietzsche (Manchester: Manchester University Press, 2003), 275 311, especially 261 89; and Carl Dahlhaus, The Twofold Truth in Wagner s Aesthetics: Nietzsche s Frag- ment On Music and Words in Between Romanticism and Modernism (Berkeley...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... expansive tenden- cies, Le ménestrel wrote: In his undertaking, [Piontelli] today has the following associates: Mr. Luigi Cesari, former 229 ANDREAS GIGER Svesti la giubba for spring, not fall.17 Whatever the truth, Piontelli fell seriously ill, Villa and Damiani folded, and the fate of Pagliaccio was...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... operatic setting because it invited diverse styles of music: Goethe had thought of his sec- ond Faust half operatically. He wished (it would seem from his own communications) that the choruses should be sung throughout, and he expressed the opinion that it would be very difficult to perform Helena s...
Journal Articles
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
... national identity, it is nec- essary to trace the performance history of Wagner s music in late-nineteenth-century Spain and in particular, the history of those performances in Madrid, the center of Castilian musical life. For most of the nineteenth cen- tury there was as much interest in Wagner s music in...
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
... s Reprints and Permissions web page, httpwww.ucpress.edu/ journals.php?p=reprints. httpsdoi.org/10.1525/ncm.2017.41.1.48. MARK SETO On 27 January 1888, Ernest Chausson sent an apologetic note to his friend Robert Godet about the upcoming performance of his symphonic poem Viviane, op. 5, at the...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
Journal Articles
19th-Century Music. 2016; 40281–105 doi: https://doi.org/10.1525/ncm.2016.40.2.81
Published: 01 November 2016
.... His manner is performative, too, in the sense that it privileges sensorial exploration and grounds understanding in tangible experience. José even lets his listeners know that the point of the performance is music, and that this mu- sic has a point. His description of the piece offers the ear a...
Journal Articles
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
..., Tchaikovsky: The Final Years, 338). If Bronislava Nijinska s Memoirs are accurate, the Mouse King, once wounded, also died on stage when Vaslav Nijinsky performed the part during the year of his graduation from the Imperial Ballet School; see Bronislava Nijinska, Early Memoirs, trans. Irina Nijinska and Jean...
Journal Articles
19th-Century Music. 2016; 402106–130 doi: https://doi.org/10.1525/ncm.2016.40.2.106
Published: 01 November 2016
... s Stemninger performance, Morning Mood has most fre- quently been heard as the idealized representa- tion of an iconic Norwegian landscape.4 This enchanted fairy-tale vision of sunlit fjords, mountain pastures, lakes and soothing forests prompts Peer s long-suffering girlfriend, Solvejg, to sigh...
Journal Articles
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák's larger output and the critical discourses of the late nineteenth century, using it as a focal point to...
Journal Articles
19th-Century Music. 2016; 40147–55 doi: https://doi.org/10.1525/ncm.2016.40.1.47
Published: 01 July 2016
... emotion. As Lawrence Kramer states, we usually grant authority to our thoughts but not so readily to our emotions: We don t grant that same authority to what we feel (intuit, imagine, fantasize). . . . We require that the truth come at the feeling from the outside, or else we accept that it can t and...
Journal Articles
19th-Century Music. 2016; 40156–78 doi: https://doi.org/10.1525/ncm.2016.40.1.56
Published: 01 July 2016
... triumphant, His truth is marching on as a new layer of carillon is added. A particularly effective sense of motion is created (and exag- gerated) as the choir seems to move forward, getting louder in the primitive mix, and the camera executes a dramatic slow pull-back, al- most as if Abraham Lincoln were...