by Nancy Warner Barrineau (1996)
These early writings by American novelist Theodore Dreiser provide a major piece missing from the puzzle of his formative years. Collected in this volume are reviews and opinion pieces that Dreiser published in Ev'ry Month, a popular Women's magazine that he edited for twenty-four issues, from October 1895 through September 1897. It was during this time, says Nancy Warner Barrineau, that Dreiser completed his transformation into the writer whose distinguished career would begin with Sister Carrie (1900), a masterpiece of American Realist fiction. In her introduction, Barrineau discusses how writing in Ev'ry Month allowed Dreiser to discover his essential fictional material, a form to fit it in, and a philosophy of literature and life to guide it. His role as drama critic supplied him with the theater material that is central to Sister Carrie, and his book reviews hint at what he personally liked and felt others should as well - works by such authors as Honore de Balzac, Harriet Beecher Stowe, Stephen Crane, and William Dean Howells.
Timothy L. Parrish
"Who or what is an American? Many scholars have recently argued that in a country of such vast cultural and ethnic diversity as the United States it is not useful or even possible to talk of a single national identity. Are people right to suggest that the very idea of "Americanness" is merely a myth designed to obscure the divisions among us?" "This is the central question addressed by Tim Parrish in this interdisciplinary study."--BOOK JACKET.
John Richardson
Here, Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that experience of music is now cinematic, spatial, and ultimately visual as much as it is auditory.
Kenneth Gloag
"Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts. ... This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. ... It outlines and addresses the problems of defining what we mean by postmodernism, explores when postmodernism begins, engages with a broad range of literature and reference sources, inviting wider reading and thinking, and uses specific musical examples to present ways of interpreting music that can be defined as postmodernist."--Publisher description.
Santiago E. Espinosa
On a souvent remarqué l'influence de la philosophie de Schopenhauer sur celle de Wagner et de Nietzsche. On a moins remarqué que Wagner élabora une théorie à partir des thèses philosophiques de Schopenhauer tout en ignorant ses idées musicales.