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Articles 31 - 36 of 36
Full-Text Articles in Arts and Humanities
Psychic Transformation: One Woman's Journey, Nancy Macko
Psychic Transformation: One Woman's Journey, Nancy Macko
Scripps Faculty Publications and Research
The author discusses the role of the unconscious in the production of her artwork.
Book Chapter: That Obscure Object Of Desire: A Science Of Language, Tony Crowley
Book Chapter: That Obscure Object Of Desire: A Science Of Language, Tony Crowley
Scripps Faculty Publications and Research
The task will be to bring to light the repressions necessary to sustain the new science of language and its newly found object and to examine its alleged scientific neutrality.
Feminist Literary Criticism And The Author, Cheryl Walker
Feminist Literary Criticism And The Author, Cheryl Walker
Scripps Faculty Publications and Research
In the course of this essay I wish to reopen the (never fully closed) question of whether it is advisable to speak of the author, or of what Foucault calls "the author function," when querying a text, and I wish to reopen it precisely at the site where feminist criticism and post-structuralism are presently engaged in dialogue. Here in particular we might expect that reasons for rejecting author erasure would appear. However, theoretically informed feminist critics have recently found themselves tempted to agree with Barthes, Foucault, and the Edward Said of Beginnings that the authorial presence is best set aside …
"Continuo Playing On The Lute, Archlute And Theorbo" By Nigel North, James Tyler
"Continuo Playing On The Lute, Archlute And Theorbo" By Nigel North, James Tyler
Performance Practice Review
Tyler discusses and reviews North's 1987 book.
Southern Harmony Singing: A Tradition Of Shape-Note Practice, Deborah C. Loftis
Southern Harmony Singing: A Tradition Of Shape-Note Practice, Deborah C. Loftis
Performance Practice Review
Since 1884, Benton, Kentucky has hosted an annual shape-note singing event known as Big Singing Day. The singers use the 1854 edition of The Southern harmony and musical companion compiled by William Walker. Distinctions set Southern Harmony singing apart from what is described as the norm for this style of music, that is, the performance practices associated with Sacred Harp singing. Differences include seating arrangement, expertise, and style of conducting, intensity of singing, sonority, and preference in repertoire. Southern Harmony singers have tried to continue the tradition without change; Sacred Harp singers have embraced changes willingly.
The Trio Sonata In Pre-Corellian Prints: When Does 3 = 4?, Sandra Mangsen
The Trio Sonata In Pre-Corellian Prints: When Does 3 = 4?, Sandra Mangsen
Performance Practice Review
Printed sources of pre-Corellian trios include several distinct scorings, one of which requires four performers (SSBbc). Particular scorings correlate with musical style and function. Melodic bass and chordal continuo were employed in the church sonata; one or the other in the dance repertoire. Moreover, the stronger the contrapuntal role of the bass part, the more likely it was to be played on a melodic instrument. After 1660, sacred and secular scoring practices became less distinct. Increasingly active dance bass lines were more often figured, while chordal and melodic bass parts of church sonatas became nearly identical.