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Artículos de revistas sobre el tema "Joseph Straus"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 2 de febrero de 2022

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1

Straus, Joseph N. "[Letter from Joseph N. Straus]". Journal of the American Musicological Society 47, n.º 1 (abril de 1994): 190–91. http://dx.doi.org/10.1525/jams.1994.47.1.04x0090l.

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Straus, Joseph N. "[Letter from Joseph N. Straus]". Journal of the American Musicological Society 47, n.º 1 (1994): 190–91. http://dx.doi.org/10.2307/3128843.

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3

Lubet, A. "Extraordinary Measures: Disability in Music. By Joseph Straus." Music and Letters 93, n.º 4 (1 de noviembre de 2012): 635–39. http://dx.doi.org/10.1093/ml/gcs081.

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4

Honisch, Stefan. "Joseph N. Straus,Extraordinary Measures: Disability in Music". Journal of Musicological Research 31, n.º 2-3 (abril de 2012): 200–203. http://dx.doi.org/10.1080/01411896.2012.682333.

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5

Ramagopal, N. "Book review: Joseph Henrich, The WEIRDest People in the World: How the West Became Psychologically Peculiar and Particularly Prosperous". Review of Development and Change 26, n.º 1 (27 de mayo de 2021): 129–32. http://dx.doi.org/10.1177/09722661211010374.

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Joseph Henrich, The WEIRDest People in the World: How the West Became Psychologically Peculiar and Particularly Prosperous. Farrar, Straus and Giroux, 2020, 704 pp., $35. ISBN: 9780374173227 (Hardback).
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6

Hall, Patricia. "The Music of Ruth Crawford Seeger Joseph N. Straus". Music Theory Spectrum 21, n.º 1 (abril de 1999): 129–30. http://dx.doi.org/10.2307/745925.

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7

Hall, Patricia. ": The Music of Ruth Crawford Seeger . Joseph N. Straus." Music Theory Spectrum 21, n.º 1 (abril de 1999): 129–30. http://dx.doi.org/10.1525/mts.1999.21.1.02a00080.

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Brody, Martin. "Review: Twelve-Tone Music in America by Joseph N. Straus". Journal of the American Musicological Society 65, n.º 1 (2012): 291–97. http://dx.doi.org/10.1525/jams.2012.65.1.291.

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Shreffler, A. C. "The Myth of Empirical Historiography A Response to Joseph N. Straus". Musical Quarterly 84, n.º 1 (1 de enero de 2000): 30–39. http://dx.doi.org/10.1093/mq/84.1.30.

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Mäkelä, Tomi. "Zwischen Inspiration und Imitation". Die Musikforschung 48, n.º 4 (22 de septiembre de 2021): 369–94. http://dx.doi.org/10.52412/mf.1995.h4.1087.

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Die künstlerische Haltung und Kompositionstechnik des finnischen Komponisten Aarre Merikanto wird anhand von Dokumenten zur Arbeitsweise der Reger-Klasse in Leipzig, Merikantos und Regers Kompositionen und Briefen analysiert. Im Mittelpunkt der Untersuchung steht der Vergleich zwischen Regers <Streichsextett> (1911) und Merikantos <Konzert für Geige, Klarinette, Horn und Streichsextett> für ein Preisausschreiben des Schott-Verlags (1924). Auf die von Harold Bloom und Joseph N. Straus angeregte theoretische Diskussion wird hingewiesen. (Autor)
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11

Stadelman, Jeffrey. "The Music of Ruth Crawford Seeger . Ruth Crawford Seeger , Joseph N. Straus ." Journal of the American Musicological Society 52, n.º 3 (octubre de 1999): 634–43. http://dx.doi.org/10.1525/jams.1999.52.3.03a00070.

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Maconie, Robin. "CARE TO LISTEN: MILTON BABBITT AND INFORMATION SCIENCE IN THE 1950S". Tempo 65, n.º 258 (octubre de 2011): 20–36. http://dx.doi.org/10.1017/s0040298211000362.

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Following Milton Babbitt's untimely death at the age of 94 (death at any age is untimely, since it unties the time dimension) in January 2011, I was interested in finding out more about his relationship, personal and music-theoretical, with the US information science community during and after the Eisenhower years. The musical avant-garde represented in parody by Babbitt and Cage as two poles of an antithesis sprang into life in the Cold War era at the same time as Scientology, MAD and Playboy magazine. Today the US doyen of priapism is ready to admit that even the best formula for a creative life has its natural limits. I wanted to ask Joseph Straus and Jerry Kohl what they thought of Babbitt's influence in the wider context of cognitive linguistics. In addition to positioning Babbitt as a significant influence on the Russian composer's serial music in the instructive Stravinsky's Late Music (Cambridge University Press, 2001), Joseph Straus is co-editor (with Stephen Dembski) of Babbitt's Words about Music. Jerome Kohl is a fellow Stockhausen enthusiast and distinguished former editor of Perspectives of New Music, a periodical set up in the 1960s to assert US authority in new musical theory and practice by an editorial board including Babbitt and graced by a logo in honour of serial music devised by Stravinsky himself.
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13

Wechsler, Andrea. "Paul Goldstein/Joseph Straus (Hrsg.): Intellectual Property in Asia. Law, Economics, History and Politics". Zeitschrift für geistiges Eigentum 3, n.º 3 (2011): 352. http://dx.doi.org/10.1628/186723711797643017.

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14

Stadelman, Jeffrey. "Review: The Music of Ruth Crawford Seeger by Ruth Crawford Seeger, Joseph N. Straus". Journal of the American Musicological Society 52, n.º 3 (1999): 634–43. http://dx.doi.org/10.2307/831795.

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15

WEISSBORT, DANIEL. "So Forth. By Joseph Brodsky. Pp. x+132. New York: Farrar, Straus and Giroux, 1996. Hb. $18." Translation and Literature 7, n.º 1 (marzo de 1998): 101–12. http://dx.doi.org/10.3366/tal.1998.7.1.101.

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16

WEISSBORT, DANIEL. "So Forth. By Joseph Brodsky. Pp. x+132. New York: Farrar, Straus and Giroux, 1996. Hb. $18." Translation and Literature 7, Part_1 (enero de 1998): 101–12. http://dx.doi.org/10.3366/tal.1998.7.part_1.101.

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17

Iverson, Jennifer. "Review: Extraordinary Measures: Disability in Music by Joseph N. Straus; Music, Disability, and Society by Alex Lubet". Journal of the American Musicological Society 65, n.º 2 (2012): 611–21. http://dx.doi.org/10.1525/jams.2012.65.2.611.

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18

Carey, Christian. "Broken Beauty: Musical Modernism and the Representation of Disability by Joseph N. Straus. Oxford University Press, $35 (hardcover)." Tempo 73, n.º 289 (julio de 2019): 83–84. http://dx.doi.org/10.1017/s0040298219000147.

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19

Marvin, William M. "The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory. By Carl Schachter. Edited by Joseph N. Straus". Music Theory Spectrum 39, n.º 2 (2017): 275–78. http://dx.doi.org/10.1093/mts/mtx011.

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20

Grant, M. J. "The Collected Essays of Milton Babbitt- Edited by Stephen Peles, Stephen Dembski, Andrew Mead and Joseph N. Straus". Music Analysis 26, n.º 3 (octubre de 2007): 365–72. http://dx.doi.org/10.1111/j.1468-2249.2008.00263.x.

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21

Ryskamp, Dani Alexis. "Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, editors, The Oxford Handbook of Music and Disability Studies". Journal of Musicological Research 36, n.º 3 (3 de julio de 2017): 256–57. http://dx.doi.org/10.1080/01411896.2017.1340036.

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22

Quaglia, Bruce. "Review:Extraordinary Measures: Disability in MusicExtraordinary Measures: Disability in Music . By Joseph N. Straus . New York : Oxford University Press , 2011 , x + 212 pages." Music Theory Spectrum 35, n.º 1 (abril de 2013): 132–37. http://dx.doi.org/10.1525/mts.2013.35.1.132.

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23

Lister, Rodney. "The Collected Essays of Milton Babbitt edited by Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus. Princeton University Press, $39.50." Tempo 59, n.º 233 (21 de junio de 2005): 67–69. http://dx.doi.org/10.1017/s0040298205230243.

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24

Kosheleva, Olga y Vladik Kreinovich. "Joseph Henrich, The WEIRDest People in the World: How the West Became Psychologically Peculiar and Particularly Prosperous, Farrar, Straus, and Giroux, New York, 2020". Journal of Intelligent & Fuzzy Systems 40, n.º 1 (4 de enero de 2021): 1713–14. http://dx.doi.org/10.3233/jifs-189471.

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25

Taruskin, Richard. "Towards a New Poetics of Musical Influence . Kevin Korsyn . Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition . Joseph N. Straus ." Journal of the American Musicological Society 46, n.º 1 (abril de 1993): 114–38. http://dx.doi.org/10.1525/jams.1993.46.1.03a00040.

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26

RHODES, KATE. "Deborah Solomon, Utopia Parkway. The Life and Work of Joseph Cornell. (New York: Farrar, Straus and Giroux, 1997, $30). Pp. 426. ISBN 0374 180 121." Journal of American Studies 32, n.º 3 (diciembre de 1998): 513–64. http://dx.doi.org/10.1017/s0021875898356030.

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27

Taruskin, Richard. "Review: Towards a New Poetics of Musical Influence by Kevin Korsyn; Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition by Joseph N. Straus". Journal of the American Musicological Society 46, n.º 1 (1993): 114–38. http://dx.doi.org/10.2307/831807.

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28

Quinn, Peter. "Stravinsky: The Rite of Spring by Peter Hill. Cambridge Music Handbooks, Cambridge University Press, £10.95 (paperback). Stravinsky's Late Music by Joseph N. Straus. Cambridge Studies in Music, Theory and Analysis, Cambridge University Press, £45.00 (hardback)." Tempo 57, n.º 223 (enero de 2003): 63–64. http://dx.doi.org/10.1017/s0040298203210068.

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29

Díaz Gito, Manuel Antonio. "Bailando con Dioniso: el mito de Leucipo y Daphne de Richard Strauss y Joseph Gregor". Amaltea. Revista de mitocrítica 8 (13 de septiembre de 2016): 23–43. http://dx.doi.org/10.5209/amal.51761.

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Primera parte de un artículo dividido en dos que analiza la profunda reinterpretación que del mito de Dafne llevaron a cabo, a partir del relato alternativo de Partenio de Nicea más que del célebre relato de Ovidio, Richard Strauss y su libretista Joseph Gregor en su versión operística Daphne (1938). El objetivo final es someter a examen la declaración expresa de Strauss sobre el significado de su nueva ópera y si a través de la manipulación del argumento mítico los autores lograron alcanzar su objetivo.
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30

Díaz Gito, Manuel Antonio. "De niña a laurel (o de cómo convertirse en árbol): "Daphne" de Richard Strauss y Joseph Gregor". Amaltea. Revista de mitocrítica 9 (15 de septiembre de 2017): 65–81. http://dx.doi.org/10.5209/amal.54525.

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Segunda parte de un artículo dividido en dos que analiza la profunda reinterpretación que del mito de Dafne llevaron a cabo, a partir del relato alternativo de Partenio de Nicea más que del relato canónico de Ovidio, Richard Strauss y su libretista Joseph Gregor en su versión operística Daphne (1938). El objetivo final es someter a examen la declaración expresa de Strauss sobre el significado de su nueva ópera y, si a través de la manipulación del argumento mítico, los autores lograron alcanzar su objetivo.
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31

Lang, Zoë. "The Regime's ‘Musical Weapon’ Transformed: The Reception of Johann Strauss Sr's Radetzky March Before and After the First World War". Journal of the Royal Musical Association 134, n.º 2 (2009): 243–69. http://dx.doi.org/10.1080/02690400903109075.

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Johann Strauss Sr's most famous composition, his 1848 Radetzky March, was premièred during revolutionary times. The March soon became a standard piece for Habsburg bands in the nineteenth century and was considered ideal for fostering patriotic sentiments at the start of the First World War. After the Great War, however, commentators portrayed the work very differently. No longer a part of contemporary culture, the Radetzky March now belonged to a bygone era. Biographers of the Strauss family found this work to be proof of Strauss Sr's support for the conservatives during the Revolution, a claim not supported by evidence. More generally, treating the piece as a relic from another age transformed it into a marker of nostalgia in the 1930s, as is best demonstrated in Joseph Roth's novel, Radetzkymarsch (1932).
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32

Charmelot, Madeleine-Anna. "Joseph Strauh et Jacques Amand, jeunes héros révolutionnaires oubliés". Annales historiques de la Révolution française 262, n.º 1 (1985): 538–42. http://dx.doi.org/10.3406/ahrf.1985.1138.

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33

GILLIAM, BRYAN. "Ariadne, Daphne and the problem of Verwandlung". Cambridge Opera Journal 15, n.º 1 (marzo de 2003): 67–81. http://dx.doi.org/10.1017/s0954586703000673.

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The theme of transformation (Verwandlung) plays a significant role in the work of Richard Strauss, from his Tod und Verklärung (1889) to his Metamorphosen (1945). This article examines two Strauss operas where transformation is a central aspect of the libretto: Ariadne auf Naxos (1912/16), libretto by Hugo von Hofmannsthal, and Daphne (1937), libretto by Joseph Gregor. Though each opera focuses on transformation, this concept is interpreted and realized in entirely different ways. For Hofmannsthal, Verwandlung is a journey outward to a new level of existence, attaining a new sense of humanity. For Gregor, transformation is an inward movement, joining nature, and becoming divine in the German-Romantic sense of the term.
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34

ملكاوي, أسماء حسين. "عروض مختصرة". الفكر الإسلامي المعاصر (إسلامية المعرفة سابقا) 16, n.º 62 (1 de octubre de 2010): 208–197. http://dx.doi.org/10.35632/citj.v16i62.2633.

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موسوعة الاقتصاد الإسلامي في المصارف والنقود والأسواق المالية، تحرير رفعت السيد العوضي، القاهرة: المعهد العالمي للفكر الإسلامي ودار السلام للطباعة والنشر والتوزيع والترجمة، 2010م، 12مجلداً، 6560 صفحة. نظرية الحسم الزمني في الاقتصاد الإسلامي، مجدي علي غيث، الولايات المتحدة الأمريكية: المعهد العالمي للفكر الإسلامي، 2010م، 288 صفحة. نظرية المخاطرة في الاقتصاد الإسلامي دراسة تأصيلية تطبيقية، عدنان عبد الله عويضة، الولايات المتحدة الأمريكية: المعهد العالمي للفكر الإسلامي، 2010م، 351 صفحة. مدخل في مدارس الفكر الاقتصادي؛ نظرة تحليلية للتطورات الاقتصادية المعاصرة من منظور الاقتصاد الإسلامي والاقتصاد الرأسمالي، عمرو هشام محمد، دمشق: دار طلاس للدراسات والنشر، ط1، 2009م، 152 صفحة. الحقوق الاقتصادية والاجتماعية والسياسية في الشريعة الإسلامية، محمد علي السالم الحلبي، عمان: مؤسسة الوراق للنشر والتوزيع، 2009م، 434 صفحة. الأزمة المالية العالمية (رؤية إسلامية)، أشرف محمد دوابة، القاهرة: دار السلام، 2009م، 160 صفحة. قضايا اقتصادية عربية، سميح مسعود، عمان: دار الشروق للنشر، 2009م، 560 صفحة. المعاملات المالية المعاصرة وأثر نظرية الذرائع في تطبيقاتها، أختر زيتي بنت عبد العزيز، دمشق: دار الفكر المعاصر، 2008م، 383 صفحة. التداول الإلكتروني للعملات- أحكامها الشرعية، بشر محمد لطفي، عمان: دار النفائس، 2009م، 232 صفحة. الآثار الاقتصادية لأسواق الأوراق المالية من منظور الاقتصاد الإسلامي، زكريا سلامة عيسى شطناوي، عمان: دار النفائس، 2009م، 272 صفحة. First Principles of Islamic Economics, Sayyid Abul A'la Mawdudi (Author), Shafaq Hashmi (Translator), UK: Islamic Foundation (15 Oct 2009). Islamic Money and Banking: Integrating Money in Capital Theory, Iraj Toutounchian, NJ: Wiley (July 7, 2009), 350 pages. Role of the State in the Economy: An Islamic Perspective (Islamic Economics), Muhammad Nejatullah Siddiqi, UK: The Islamic Foundation (March 1, 2010), 175 pages. Islamic Capitalism: Presentation of an Alternative Economic System, Maher D. Kababji, Wordclay (January 21, 2009), 72 pages. False Economy: A Surprising Economic History of the World, Alan Beattie, Riverhead Hardcover (April 16, 2009), 336 pages. The Role of Law and Ethics in the Globalized Economy (MPI Studies on Intellectual Property, Competition and Tax Law), Joseph Straus, Springer; 1 edition (May 11, 2009), 177 pages. Economic Liberalization, Social Capital and Islamic Welfare Provision, Jane R. Harrigan, Hamid El-Said, Palgrave Macmillan (June 23, 2009), 272 pages. New Issues in Islamic Finance and Economics: Progress and Challenges, Hossein Askari, Zamir Iqbal, Abbas Mirakhor, Wiley (June 27, 2008), 373 pages. Islamic Finance: Law, Economics, and Practice, Mahmoud A. El-Gamal, Cambridge University Press; 1 edition (November 24, 2008), 240 pages. Understanding Islamic Finance, Muhammad Ayub, Wiley (January 2, 2008), 542 pages. A Comparative Study of Banking in the West and in Islam, Cheikh A. Soumare, Vantage Press (October 6, 2008), 77 pages. للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF في اعلى يمين الصفحة.
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35

Whittall, Arnold. "Materials and Techniques of Twentieth-Century Music Stefan Kostka Analytical Approaches to Twentieth-Century Music Joel Lester Music of the Twentieth Century: Style and Structure Bryan R. Simms Introduction to Post-Tonal Theory Joseph N. Straus Soundings: Music in the Twentieth Century Glenn Watkins". Music Theory Spectrum 13, n.º 1 (abril de 1991): 79–88. http://dx.doi.org/10.2307/745975.

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36

Whittall, Arnold. ": Materials and Techniques of Twentieth-Century Music . Stefan Kostka . ; Analytical Approaches to Twentieth-Century Music . Joel Lester . ; Music of the Twentieth Century: Style and Structure . Bryan R. Simms . ; Introduction to Post-Tonal Theory . Joseph N. Straus . ; Soundings: Music in the Twentieth Century . Glenn Watkins ." Music Theory Spectrum 13, n.º 1 (abril de 1991): 79–88. http://dx.doi.org/10.1525/mts.1991.13.1.02a00050.

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37

McKee, Eric. "Joseph Lanner, Johann Strauss Sr and ‘The Future of Rhythm’". Music Analysis 32, n.º 3 (6 de agosto de 2013): 291–331. http://dx.doi.org/10.1111/musa.12016.

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38

Barriga, Francisco. "En torno a la poesía de Alfredo Ramírez Celestino". Tlalocan 23 (15 de enero de 2019): 17–28. http://dx.doi.org/10.19130/iifl.tlalocan.2018.475.

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El artículo analiza nueve símbolos presentes en la obra poética de Alfredo Ramírez Celestino†. Los poemas —escritos en náhuatl, lengua materna del poeta y etnohistoriador— reflejan aspectos de la cosmovisión xaliteca y revisten una función ideológica en la sociedad nahua del Alto Balsas, Guerrero. Para sustentar su integración como sistema simbólico, se procede a un abordaje tanto estructuralista como simbólico, según los planteamientos generales de Roman Jakobson, Claude Lévi-Strauss, Carl Gustav Jung y Joseph Campbell.
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39

Gilliam, Bryan. ""Friese im Innern": Strauss's Public and Private Worlds in the Mis 1930's". Journal of the American Musicological Society 57, n.º 3 (2004): 565–98. http://dx.doi.org/10.1525/jams.2004.57.3.565.

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In the context of the most prolific and tumultuous decade in Strauss's life, the 1930s, this essay focuses on the years 1935-36, a time of significant change in the history of the Nazi regime. This period also saw significant changes in Strauss's life and worldview. Strauss lost a prized librettist (Stefan Zweig) in 1935, the same year that their opera, Die schweigsame Frau, was banned. Strauss was then fired from the presidency of the Reichsmusikkammer and within twenty-four hours was negotiating reluctantly with a new librettist of modest abilities (Joseph Gregor). On a broader level, this period saw the formation of the Nuremberg Race Laws, a reconfiguration of the Reichskulturkammer, and Hitler's four-year plan for war. As the Nazis expanded, Strauss grew inward, turning to his late nineteenth-century roots in German Romanticism and Innerlichkeit informed by Goethe and Nietzsche. The relationship between Strauss's public and private worlds is explored through discussions of his completed works as well as a fragmentary cello concerto and works for male chorus in a sketchbook from this time.
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40

Yaremchuk, Olesya. "A Field Research as an Anthropological Tool in Literary Reportage (on the Examples of Journalistic Texts by Joseph Roth)". Scientific notes of the Institute of Journalism, n.º 2 (75) (2019): 135–45. http://dx.doi.org/10.17721/2522-1272.2019.75.10.

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This article studies the use of field research as an anthropological tool in literary reportage which is a comprehensive element of the creation of journalistic content. Based on the examples of journalistic texts of the 20s by the Austrian writer Joseph Roth, we have analyzed the anthropological methods which were used by this author in his reportages, that is the main objective of this study. Using diachronic comparison, qualitative method and content analysis to evaluate and to explain the concept of Joseph Roth’s texts, as well as the methodology of textual, syntagmatic (by Volodymyr Propp) and paradigmatic analysis (by Claude Levi-Strauss), we have examined the generated meanings in the texts of the mentioned author. As a result of the study, we have identified four methods that Joseph Roth used writing his news reportages in the 1920s, including “In Midday France” and “White Cities”. Those methods are as follows: overt observation, in-depth interviews, fixing details and gaining empirical experience. The modern authors call these methods as classic ones, without which it is impossible to work in this genre. As we have seen from the examples of literary reportages of the French cycle by Joseph Roth, the anthropological tools used by this author for his works contributed to deepening and improving the quality of his texts which is of great significance for our study. Joseph Roth created a panoramic picture of the twentieth century in his texts through watching, communicating and studing. However, it is worth to add that he was often too subjective, suffering harsh criticism for this.
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41

ملكاوي, فتحي حسن. "عروض مختصرة". الفكر الإسلامي المعاصر (إسلامية المعرفة سابقا) 7, n.º 28 (1 de abril de 2002): 184–77. http://dx.doi.org/10.35632/citj.v7i28.2851.

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What Did the Biblical Writers Know & When Did They Know? What Archeology can tell us about the Reality of Ancient Israel? William G. Dever. Michigan: Wm. B. Eerdmans, 2001, 133 pages. The Bible Unearthed: Archaeology’s New Vision of Ancient Israel and The Origin of Its Sacred Texts. Israel Finkelstein and Neil Asher Silberman. New York: The Free Press, 2001, 400 pages. Blinded By the Right: The Conscience of an Ex-Conservative. By David Brock. New York: Crown Publishers, 2002, 336 pages. Many Globalizations: Cultural Diversity in the Contemporary World. Edited By Peter Berger and Samuel Huntington. New York: Oxford University Press, 2002, 274 pages. Who Owns History: Rethinking the Past in a Changing World. Eric Foner. New York: Hill and Wang, 2002, 234 pages Paths from Science Towards God: The End of all our Exploring. Arthur Peacock. England: One world Publications, 2001, 198 pages. The Death of the West: How Mass Immigration, Depopulation and a Dying Faith Are Killing our Culture and Country. By Patrick J. Buchanan. St. Martin’s Press Inc., 320 pages. The Qur’anic Phenomenon: An Essay of Theory on the Qu’ran. Malik Bennabi. Translated and Annotated by Mohamed El-Taher El-Mesawi: Malaysia: Islamic Book Trust, 2001, 298 pages. What went wrong? Western Impact and Middle Eastern Response. Bernard Lewis. New York: Oxford University Press, Inc., 2001, 192 pages. The Muslim Jesus: Saying and Stories in Islamic Literature. Edited and Translated By Tarif Khalidi. Cambridge: Harvard University Press, 2001, 245 pages. The Paradox of American Power: Why the World’s Only Superpower Can’t Go It Alone. Joseph S. Nye, Jr.. New York: Oxford University Press, Inc., 2002, 240 pages. Unholy War: The Vatican’s Role in the Rise of Modern Anti-Semitism. David I. Kertzer. London: Macmillan, 2002,355 pages. Our Postmodern Future: Consequences of the Biotechnology Revolution. By Francis Fukuyama. New York: Farrar, Straus and Giroux, 2002, 256 pages. Western Political Science in a Non-Western Context: Theories of Comparative Politics in the Arab Academia. Nasr M. Arif. Lanham, MD: University Press of America, Inc., 2001, 105 pages. The Hinges of Battle: How Chance and Incompetence Have Changed the Face of History. Eric Durschmied. London: Hodder and Stoughton, 2002, 438 pages. من أعلام الحركة الإسلامية. المستشار عبد الله العقيل. الكويت: مكتبة المنار الإسلامية، 2000م، 716 صفحة. نظرية المعرفة في القرآن الكريم وتضميناتها التربوية. د. أحمد حسين الدغشي. هيرندن فيرجينيا: المعهد العالمي للفكر الإسلامي، ودمشق: دار الفكر، 2002م، 472 صفحة. العقل الأخلاقي العربي: دراسة تحليلية نقدية لنظم القيم في الثقافة العربية. محمد عابد الجابري. (سلسلة نقد العقل العربي 4.) الدار البيضاء: دار النشر المغربية، 2001م، 640 صفحة. نقد العقل العربي: وحدة العقل العربي الإسلامي. جورج طرابيشي. بيروت: دار الساقي، 2002م، 408 صفحة. السلطة السياسية في الفكر الإسلامي: محمد رشيد رضا نموذجاً. محمد سليمان أبو رمان. عمان: دار البيارق، 2002م، 295 صفحة. للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF في اعلى يمين الصفحة.
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42

Snow, Joseph T. y Arno Gimber. "Richard Strauss, Stefan Zweig, Joseph Gregor and the Story of the Celestina Opera that Almost was, with a Bibliographical Appendix of Celestina Operas in the Twentieth Century". Celestinesca 31 (15 de enero de 2021): 133. http://dx.doi.org/10.7203/celestinesca.31.20074.

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Stefan Zweig, el conocido novelista austríaco y judío, colaboró con Richard Strauss en su Die Schweigsame Frau (La mujer silenciosa) en 1935 y, después, le sugirió al compositor una ópera basada en Celestina. El proyecto interesó a Strauss y quiso que Zweig fuese su colaborador, pero Zweig, en la Alemania de Hitler, temía más colaboraciones con Strauss y le propuso que trabajara con Josef Gregor, afamado historiador de teatro mundial. La historia completa de esta ópera que nunca llegó a componerse aparece aquí completa, respaldada por las cartas que escribieron los tres. Incluimos en dos apéndices una versión en inglés de la ópera que diseñó Gregor para Strauss además de una lista comentada de las óperas basadas en Celestina en el siglo veinte.
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43

Germino, Dante. "Blasphemy and Leo Strauss's Machiavelli". Review of Politics 53, n.º 1 (1991): 146–56. http://dx.doi.org/10.1017/s0034670500050245.

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In 1966, I published a review article hailing Leo Strauss's Thoughts on Machiavelli as an instant classic. I also expressed some reservations or “second thoughts” about its conclusions. In the intervening years my appreciation for the profundity and originality of Strauss's interpretation has only increased, but many of my doubts have also remained. Here I wish to restate both my admiration and reservations with particular attention to parts of Strauss's chapter on Machiavelli published in the 1972 edition of his History of Political Philosophy, co-edited with Joseph Cropsey.Let me at the outset state the obvious: Strauss's interpretation of Machiavelli is well — indeed overwhelmingly — supported by textual evidence, given Strauss's manner of reading between the lines. No interpreter, therefore, is entitled to dismiss it out of hand, even if he or she disagrees with Strauss's methodology, in whole or in part. In this respect, Claude Lefort has provided a model for scholars whose philosophical orientation differs widely from that of Strauss. Strauss has given us a truly fresh look at the great Florentine.
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44

Burns, Lori. "Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-19- 506509-3 (hardcover) Joseph N. Straus. The Music of Ruth Crawford Seeger. Cambridge: Cambridge University Press, 1995. xii, 260 pp. ISBN 0-521-41646-9 (hardcover)". Canadian University Music Review 20, n.º 2 (2000): 141. http://dx.doi.org/10.7202/1014470ar.

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45

Jensen, Hans Jørgen Lundager. "The Bible Is (Also) a Myth: Lévi-Strauss, Girard, and the Story of Joseph". Contagion: Journal of Violence, Mimesis, and Culture 14, n.º 1 (2008): 39–57. http://dx.doi.org/10.1353/ctn.2008.0003.

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46

Griggs, Francis E. "Joseph B. Strauss, Charles A. Ellis, and the Golden Gate Bridge: Justice at Last". Journal of Professional Issues in Engineering Education and Practice 136, n.º 2 (abril de 2010): 71–83. http://dx.doi.org/10.1061/(asce)ei.1943-5541.0000007.

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47

Smith, Gregory Bruce. "On Cropsey's World: Joseph Cropsey and the Tradition of Political Philosophy". Review of Politics 60, n.º 2 (1998): 307–42. http://dx.doi.org/10.1017/s0034670500041218.

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Throughout his corpus, Joseph Cropsey reflects upon the tradition of political philosophy. Those reflections can be fruitfully approached under four headings. First, Cropsey questions the nature and origins of political philosophy as well as its cosmological or metaphysical foundations. Second, Cropsey questions the customary periodizations of the tradition of political philosophy. He especially questions the usefulness of the ancients-moderns distinction. Third, Cropsey reflects upon the relation between the tradition of political philosophy and concrete political life past and present. In the process, he tries to show the ways in which comprehensive constellations of ideas work their way into and inform everyday life. Fourth, Cropsey reflects upon the nature of the American regime and its prospects for the future. Throughout, it becomes clear that Cropsey has engaged in an ongoing dialogue with his mentor Leo Strauss. Finally, it also becomes clear, contrary to recent assertions made in response to Plato's World, that Cropsey engages in a series of subtle critiques of Nietzschean and Heideggerian historicism and thereby of contemporary postmodernism as well.
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48

Falleiros, Guilherme Lavinas Jardim. "Dialética perspectivista anarcoindígena". Cadernos de Campo (São Paulo, 1991) 25, n.º 25 (2 de octubre de 2017): 107. http://dx.doi.org/10.11606/issn.2316-9133.v25i25p107-130.

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Apresentarei hipótese teórica para o diálogo entre formas políticas ameríndias e anarquistas através da antropologia, destacando uma influência anarquista sobre a disciplina e contribuições que o diálogo pode oferecer tanto ao anarquismo quanto à antropologia. Apontarei semelhanças entre reflexões de Pierre-Joseph Proudhon e Claude Lévi-Strauss a partir da perspectiva do anarquista que pode ter influenciado o antropólogo americanista. Tais ressonâncias se desdobram no estudo do “princípio federativo” através do “dualismo político” proudhoniano e no “dualismo em perpétuo desequilíbrio feito política” investigado por Beatriz Perrone-Moisés e Renato Sztutman nas “formas políticas” ameríndias. Daí surgem desvios da política que apontam para contribuições teóricas e organizacionais dos indígenas para o anarquismo, com especial atenção para as alternativas dos A’uwe-Xavante, com quem tenho feito pesquisa etnográfica. Tais contribuições também afetam certa antropologia conectada ao anarquismo, ambos transformados pela “indianidade”.
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Berger, Joseph. "Omaha Blues: A Memory Loopby Joseph Lelyveld; New York, Farrar, Strauss and Giroux, 2005, $22". Psychiatric Services 57, n.º 5 (mayo de 2006): 746–47. http://dx.doi.org/10.1176/ps.2006.57.5.746a.

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50

Kämper, Dietrich. "Antisemitismus im Berliner Musikleben des Kaiserreichs". Die Musikforschung 73, n.º 4 (22 de septiembre de 2021): 305–23. http://dx.doi.org/10.52412/mf.2020.h4.2.

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Max Bruch was one of the most successful German composers of the 19th century. It was only towards the end of the century that his music increasingly lost of its appeal with audiences who turned toward more modern composers (Strauss, Mahler, Reger). Disappointed at the growing number of compositional failures, Bruch began to sympathize with anti-Semitic thought which had been spreading in Berlin since the 1870s. It seems particularly paradox that, in a letter written in 1902 to his publisher Simrock, Bruch attacked three Berlin musicians with brutal anti-Semitic invectives, who had been his best and most loyal friends for decades, and to whom he owed decisive contributions to his compositional career: Joseph Joachim, Friedrich Gernsheim and Siegfried Ochs. Although in this partivular case the anti-Jewish statements of the composer were triggered by dashed hopes for performances and publications, and although his bitter outburst was deeply rooted in his particular personality structure, Max Bruch can be regarded as the exemplary case of the "bourgeois" anti-Semitism of the imperial era.
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