This is an analytical monograph by a Schenkerian music theorist, but it is also written by one performer and enthusiast for another. Tonality as Drama draws on the fields of dramaturgy, music theory, and historical musicology to answer a fundamental question regarding twentieth-century music: why does the use of tonality persist in opera, even after it has been abandoned in other genres? Combining the analytical approaches of the leading music and dramatic theorists of the twentieth century--Austrian music theorist Heinrich Schenker (1868-1935) and Russian director Constantin Stanislavsky (1863-1938)--Edward D. Latham reveals insights into works by Scott Joplin, George Gershwin, Kurt Weill, and Aaron Copland that are relevant to analysts, opera directors, and performers alike. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters.
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Outcasts of Empire unveils the causes and consequences of capitalism’s failure to “batter down all Chinese walls” in modern Taiwan. Adopting micro- and macrohistorical perspectives, Paul D. Barclay argues that the interpreters, chiefs, and trading-post operators who mediated state-society relations on Taiwan’s “savage border” during successive Qing and Japanese regimes rose to prominence and faded to obscurity in concert with a series of “long nineteenth century” global transformations.Superior firepower and large economic reserves ultimately enabled Japanese statesmen to discard mediators on the border and sideline a cohort of indigenous headmen who played both sides of the fence to maintain their chiefly status. Even with reluctant “allies” marginalized, however, the colonial state lacked sufficient resources to integrate Taiwan’s indigenes into its disciplinary apparatus. The colonial state therefore created the Indigenous Territory, which exists to this day as a legacy of Japanese imperialism, local initiatives, and the global commodification of culture. “Sophisticated and engaging. This highly original narrative of a formative period will be of great interest to all those concerned with comparative colonial history.” NICHOLAS THOMAS, Professor of Historical Anthropology, University of Cambridge “A multisided and multiscale analysis—incorporating global, regional, and local scales— embedded in a coherent and compelling narrative.” PRASENJIT DUARA, Oscar Tang Professor of East Asian Studies, Duke University “Analytically precise and theoretically ambitious. A must-read for anyone interested in the fate of indigenous peoples under modern colonialism.” LOUISE YOUNG, author of Japan’s Total Empire: Manchuria and the Culture of Wartime Imperialism PAUL D. BARCLAY is Professor of History at Lafayette College. He is also general editor of the East Asia Image Collection, an open-access online digital repository of historical materials.
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BERUFENET - Bundesanstalt für Arbeit, 2002: "Auch übliche Berufsbezeichnung/Synonym: Film- und Bühnencosmetologe/-cosmetologin"
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The Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis.
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