標(biāo)題: Titlebook: D.H. Lawrence, Music and Modernism; Susan Reid Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive licence to Sprin [打印本頁(yè)] 作者: 積聚 時(shí)間: 2025-3-21 20:05
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作者: stratum-corneum 時(shí)間: 2025-3-21 22:46
D.H. Lawrence, Music and Modernism978-3-030-04999-7Series ISSN 2946-5133 Series E-ISSN 2946-5141 作者: LUMEN 時(shí)間: 2025-3-22 02:53 作者: ATRIA 時(shí)間: 2025-3-22 07:38 作者: promote 時(shí)間: 2025-3-22 09:23 作者: Coronation 時(shí)間: 2025-3-22 14:29 作者: Coronation 時(shí)間: 2025-3-22 17:56
J.-L. Vincent,P. van der Lindentigating his use of the cadences of folk song and hymns and his negotiation of a Romantic legacy of transcendent song. Edward Marsh’s criticisms of Lawrence’s poetic rhythms provoked a deepening engagement with the musicality of decadent poetry, exemplified by Ernest Dowson, while the evolution of h作者: 都相信我的話 時(shí)間: 2025-3-22 23:26 作者: 四海為家的人 時(shí)間: 2025-3-23 05:11 作者: 內(nèi)疚 時(shí)間: 2025-3-23 06:33 作者: NATAL 時(shí)間: 2025-3-23 11:18 作者: stratum-corneum 時(shí)間: 2025-3-23 14:44 作者: GOAT 時(shí)間: 2025-3-23 18:31 作者: Genteel 時(shí)間: 2025-3-23 23:00
Mong-Liang Lu MD, MS,Hsien-Yuan Lane MD, PhD artists: a setting of four Lawrence poems as the song cycle titled . (1985), which has gone largely unnoticed within Lawrence studies. A list, by no means exhaustive, of musical settings of Lawrence’s work by other composers follows in the Appendix.作者: 會(huì)議 時(shí)間: 2025-3-24 03:07
Susan ReidConnects Lawrence studies with studies of literary modernism and the arts.Positions Lawrence among his modernist contemporaries who were influenced by music.Explores both Lawrence’s musical interests 作者: Excise 時(shí)間: 2025-3-24 07:22
Palgrave Studies in Music and Literaturehttp://image.papertrans.cn/d/image/260026.jpg作者: BLOT 時(shí)間: 2025-3-24 11:47 作者: inundate 時(shí)間: 2025-3-24 18:15
Electrochemistry, Batteries and Fuel Cells,alism, spirituality and materialism, towards a modernism that brings together the putatively sacred and profane, with Schoenberg’s oratorio . offering rich parallels with Lawrence’s idea of religious art.作者: frozen-shoulder 時(shí)間: 2025-3-24 19:34
,“Between Heaven and Earth”: Space, Music, and Religion in ,alism, spirituality and materialism, towards a modernism that brings together the putatively sacred and profane, with Schoenberg’s oratorio . offering rich parallels with Lawrence’s idea of religious art.作者: sleep-spindles 時(shí)間: 2025-3-24 23:45 作者: incredulity 時(shí)間: 2025-3-25 03:42
,“The Insidious Mastery of Song”: Cadence and Decadence in the Early Poems,is poem “Piano” suggests Charles Baudelaire, A.C. Swinburne, and Thomas Hardy as important forebears in forging a poetics that also helped to shape a musical prose. Like his contemporaries, Ezra Pound and W.B. Yeats, Lawrence’s modernist cadences were formed through what Vincent Sherry usefully frames as a “reinvention of decadence”.作者: 恫嚇 時(shí)間: 2025-3-25 11:04 作者: 錢(qián)財(cái) 時(shí)間: 2025-3-25 14:32 作者: grenade 時(shí)間: 2025-3-25 19:33
,Music, Noise, and the First World War: “All of Us”, , and , (1920) suggests thematic and structural interests in song and silence that resonate with Debussy’s muted response to the war, and also with the loose-knit structure and themes of Schubert’s ., including the notions of wintering and fragmentation that helped to shape ..作者: 自戀 時(shí)間: 2025-3-25 22:14 作者: 臆斷 時(shí)間: 2025-3-26 02:37 作者: 事與愿違 時(shí)間: 2025-3-26 05:44
2946-5133 luenced by music.Explores both Lawrence’s musical interests .This first book-length study of D. H. Lawrence’s lifelong engagement with music surveys his extensive musical interests and how these permeate his writing, while also situating Lawrence within a growing body of work on music and modernism.作者: fibula 時(shí)間: 2025-3-26 09:07
G. Berlot,A. Tomasini,M. Maffessantiew literary forms that anticipated the blending of the arts in modernism. His breakthrough to a mature style is related here to explorations of rhythm suggested by the Chladni patterns of sound waves made visible in sand, an acoustic and musical model of importance for Lawrence and his contemporaries that resonates throughout this book.作者: 終止 時(shí)間: 2025-3-26 15:27
J.-L. Vincent,P. van der Lindenis poem “Piano” suggests Charles Baudelaire, A.C. Swinburne, and Thomas Hardy as important forebears in forging a poetics that also helped to shape a musical prose. Like his contemporaries, Ezra Pound and W.B. Yeats, Lawrence’s modernist cadences were formed through what Vincent Sherry usefully frames as a “reinvention of decadence”.作者: predict 時(shí)間: 2025-3-26 20:51
Applied Cardiovascular Physiologyng parallels with Nietzsche’s attack on Wagnerian decadence. In ., Lawrence knowingly courted a discourse of decadence and his own experiments with leitmotif in this novel can be seen to reach towards a modernist musicality that incorporates diverse influences, including Debussy’s ..作者: glucagon 時(shí)間: 2025-3-27 00:32 作者: parallelism 時(shí)間: 2025-3-27 03:30 作者: Creditee 時(shí)間: 2025-3-27 07:32
Carlos H. Rojas-Fernandez BSc(Pharm), PharmD American?songs to create “New World” music that?is more comparable with the Aztec compositions of Carlos Chávez or the corporealism of Harry Partch?than with the “American” music of Antonín Dvo?ák or Aaron Copland.作者: 小畫(huà)像 時(shí)間: 2025-3-27 13:25 作者: Myofibrils 時(shí)間: 2025-3-27 17:16
Book 2019iting, while also situating Lawrence within a growing body of work on music and modernism. A twin focus considers the music that shaped Lawrence’s novels and poetry, as well as contemporary developments in music that parallel his quest for new forms of expression. Comparisons are made with the music作者: 禮節(jié) 時(shí)間: 2025-3-27 21:38
Book 2019r, Hardy, Hueffer (Ford), Nietzsche and Pound. Above all, by exploring Lawrence and music in historical context, this study aims to open up new areas for study and a place for Lawrence within the field of music and modernism..作者: 整潔 時(shí)間: 2025-3-28 01:14 作者: 手工藝品 時(shí)間: 2025-3-28 05:55 作者: Addictive 時(shí)間: 2025-3-28 09:10
,Lawrence’s Case of Wagner: , and ,as espoused by Ford Madox Hueffer, Thomas Mann,?George Moore, and H.G. Wells, a key theme that recurs throughout this book. His first novel . drew instead on Bizet’s ., praised by Nietzsche as “the opposite of Wagner”, while his critique of leitmotif in his review of “German Books” also bears striki作者: Narrative 時(shí)間: 2025-3-28 12:06
,“Between Heaven and Earth”: Space, Music, and Religion in ,oustic model suggested by the analogy of Chladni patterns of sound waves in sand. A structure of widening circles (akin to sound waves) takes an opposite trajectory to Wagner’s retreat from the outside world in . (1881), while acoustic patterns of repetition and stasis at the level of language paral作者: Neolithic 時(shí)間: 2025-3-28 18:29
,“Beyond the Sound of Words”: Harmony and Polyphony in ,resented by Gerald Crich’s Wagnerian concept of harmony and Birkin’s more ethical polyphony. Gerald’s characterisation as doomed victim of an industrial society in love with war and death is compared with Arnold Bax’s use of Wagner’s “sick Tristan” motif in .. The composers Philip Heseltine and Ceci作者: Aboveboard 時(shí)間: 2025-3-28 22:08
,Music, Noise, and the First World War: “All of Us”, , and ,hallenge the extent to which music could continue to offer consolation in a shatteringly noisy, war-torn world. In “All of Us”, the militaristic imperialism of Verdi’s . depicted in . is counterpointed by translations of the songs of the Egyptian fellaheen (labourers). Analysis of the war poems of .作者: Meander 時(shí)間: 2025-3-28 23:53
