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Late Style and Its Discontents: Essays in Art, Literature, and Music

 Buch
Besorgungstitel | Lieferzeit:3-5 Tage I
ISBN-13:
9780198704621
Einband:
Buch
Erscheinungsdatum:
01.11.2016
Seiten:
250
Autor:
Gordon Mcmullan
Gewicht:
567 g
Format:
236x152x28 mm
Sprache:
Englisch
Beschreibung:

Late style and its Discontents interrogates the critical cliche of 'late style' , questioning whether Titian, Beethoven, Goethe and others can usefully be assimilated to one another, as though their particular social and historical circumstances had been transcended by a singular existential predicament.
Gordon McMullan and Sam Smiles: Introduction: Late Style and its Discontents; Part one: Lateness, History, Modernity; 1 Sam Smiles: From Titian to Impressionism: The Genealogy of Late Style; 2 Gordon McMullan: The 'Strangeness' of George Oppen: Criticism, Modernity, and the Conditions of Late Style; Part two: Lateness and the Life Course; 3 Linda Hutcheon and Michael Hutcheon: Historicizing Late Style as a Discourse of Reception; 4 David Amigoni: Making Darwin Late: Later Life and Style in Evolutionary Writing and its Contexts; 5 Jeremy Lewison: In the Antechamber of Death: Picasso's Later Paintings; 6 Philip Gossett: The 'Late Styles' of Gioachino Rossini; 7 Laura Tunbridge: Saving Schubert: the Evasions of Late Style; 8 Michael Bell: Perceptions of Lateness: Goethe, Nietzsche, Thomas Mann, and D. H. Lawrence; Part four: The Time and Place of Lateness; 10 Olivia Murphy: Suffering Sea-changes: Jane Austen's Afterlives and the Possibilities of a Late Style; 11 Barbara L. Kelly: Ravel, Timeliness, and Late Style; 12 Karen Leeder: 'Anachronism': Michael Hamburger and the Time and Place of Late Work; Part five: Adorno, Lateness, History; 13 Michael Spitzer: Notes on Beethoven's Late Style; 14 Bente Larsen: The Infinity of Water Lilies: On Monet's Late Paintings; 15 Robert Spencer: Lateness and Modernity in Theodor Adorno; Ben Hutchinson: Afterword
Late style and its Discontents interrogates the critical cliche of 'late style' , questioning whether Titian, Beethoven, Goethe and others can usefully be assimilated to one another, as though their particular social and historical circumstances had been transcended by a singular existential predicament.

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