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The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich’s music independently of political and biographical bias. Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer’s cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.

The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich’s music independently of political and biographical bias. Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer’s cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.

Divided Soul represents photographer David Alan Harvey's thirty-year journey through the Spanish and Portuguese diaspora in the Americas. In this selection of over a hundred colour photographs, Harvey explores the exuberance and incongruities of a life and culture that hold for him an endless fascination. The photographs are presented within thematic chapters, each of which is introduced by Harvey's own commentary. The passionate and divided soul of the Hispanic world, where tradition and ritual are inherent to everyday life, is revealed in Harvey's evocative, and often contradictory, images: a pulsating carnival in Cuba's Trinidad, a fervent African tribal ceremony in Brazil, an erotic disco in Lisbon, a Whitsuntide procession in Andalucia and a first Communion in Mexico. Adopting an approach that combines intuition, patience and persistent curiosity - together with a rejection of cumbersome equipment - Harvey succeeds in minimizing the distance between himself and his subjects, producing images that capture the natural choreography of people within places and that resonate with magic.

Seoul is a colossus both in its physical presence and the demand it places on any intellectual effort to understand it. How did it come to be? How can a city this immense work? Underlying its spectacle and incongruities is a city that might be described as ill at ease with its own past. The bitter rifts of Japanese colonization persist, as does the troubled aftermath of the Korean War and its divisions; the economic “Miracle on the Han” that followed is crosscut by memories of the violent dictatorship that drove it.In Seoul, author Ross King interrogates this contested history and its physical remnants, tacking between the city’s historiography and architecture, with attention to monuments, streets, and other urban spaces. The book’s structuring device is the dichotomy of erasure and memory as necessary preconditions for reinvention. King traces this phenomenon from the old dynasties to the Japanese regime and wartime destruction; he then follows the equally destructive reinvention of Korea under dictatorship to the brilliant city of the present with its extraordinary explosion of creativity and ideas―the post-1991 Hallyu, the Korean Wave. The final chapter returns to questions of forgetting and memory, but now as “conditions of possibility” for what would seem to underlie the present trajectory of this extraordinary city and culture.Seoul can be read, King suggests, in the context of the hybrid ideas that have characterized Korean cultural history. It may be their present eruption that accounts for the city of contradictions that confronts the contemporary observer and that most extraordinary of Korean phenomena: the rise of an alternative, virtual world, eclipsing both city and nation. Has the very idea of Korea been reinvented even as the weakly defined nation-state slips away?

Exploring incongruities between science and religion, this volume deploys the latest research in neuroscience to show how abstractions such as consciousness, Euclidean triangles, and even Mickey Mouse, all have physically realized counterparts in the brain.

This is a chronicle of travels through modern Egypt; a landscape strewn with incongruities and peopled by a vivid cast of characters. Their stories form part of Kennedy's funny, yet ultimately serious portrait of Egypt today. Sidestepping the usual assortment of pyramids, Kennedy discovers an Egypt in which Bedouin watch American television, monks have word processors and everything is a world away from the common "archaelogical theme park" image usually accorded this country.

In this ground-breaking book, musicologist Alfred Mann weaves documentary evidence of six great composers as students and teachers into a convincing study that reveals a basic incongruity between traditional musical theory and actual musical practice. The opening chapter of The Great Composer as Teacher and Student recounts how traditional disciplines of harmony and counterpoint were formed. The closing chapter exposes the skeptical attitude with which these disciplines were eventually viewed by many composers. In between are fascinating in-depth close-ups, complete with musical examples, of Bach, Handel, Haydn, Mozart, Beethoven and Schubert teaching and learning. We meet the great Bach teaching principles of part-writing. We follow Handel's lessons for Princess Anne, which are fully reproduced. We observe Mozart's classical studies in polyphony. For the very first time we see full documentation of Beethoven's studies in counterpoint with Haydn, including his homework-an extraordinary moment in musical history when both teacher and student were men of genius. Finally, we follow Schubert in his studies with Salieri and in his famous lesson with Sechter on the fugal answer. Illustrated with 63 musical examples and many lessons and studies, this outstanding book offers an unusual perspective on musical pedagogy and tantalizing glimpses of what it was like to study with music's greatest masters. Importantly, it reveals the extent to which a number of major composers transcended the bounds of existing musical theory.

The Holocaust and attempts to deny it, racism, murder, the case of Mary Bell. How can we include these and countless other examples of evil within our vision of a common humanity? These painful human incongruities are precisely what Raimond Gaita boldly harmonizes in his powerful new book, A Common Humanity.Hatred with forgiveness, evil with love, suffering with compassion, and the mundane with the precious. Gaita asserts that our conception of humanity cannot be based upon the empty language of individual rights when it is our shared feelings of grief, hope, love, guilt, shame and remorse that offer a more potent foundation for common understanding. Drawing on the work of Hannah Arendt, Simon Weil, Primo Levi, George Orwell, Iris Murdoch and Sigmund Freud, Gaita creates a beautifully written and provocative new picture of our common humanity.

What we choose to eat is killing our planet and us, yet use of the word 'sustainable' is ubiquitous. Explanation of this incongruity lies in the fact that sustainability efforts are rarely positioned to include food choice in an accurate manner. This is due to a number of influencing cultural, social, and political factors that disable our food production systems and limit our base of knowledge--falsely guiding us on a path of pseudo sustainability, while we devastate the ecosystems that support us, cause mass extinctions, and generate narrowing time lines that will ultimately jeopardize our very survival as a civilization. Food Choice and Sustainability is a groundbreaking new book that anyone who cares about our future and that of other species should read--individuals, academic institutions, businesses, organizations, and policy makers. Categories of global depletion are detailed, widely held myths are debunked, critical disconnects are exposed, and profound solutions are offered.

This volume features the play Misalliance, which explores the incongruities of human nature and family life, and Shaw's one-act burlesque, The Fascinating Foundling.

This memoir of a US diplomat attempts to capture the humor and sheer incongruity of working across cultures in an international career spanning diplomacy and education. Written in a light hearted tone, it also delves into tragic consequences in countries such as Somalia, Libya and Greece.

Divided Soul represents photographer David Alan Harvey's thirty-year journey through the Spanish and Portuguese diaspora in the Americas. In this selection of over a hundred colour photographs, Harvey explores the exuberance and incongruities of a life and culture that hold for him an endless fascination. The photographs are presented within thematic chapters, each of which is introduced by Harvey's own commentary. The passionate and divided soul of the Hispanic world, where tradition and ritual are inherent to everyday life, is revealed in Harvey's evocative, and often contradictory, images: a pulsating carnival in Cuba's Trinidad, a fervent African tribal ceremony in Brazil, an erotic disco in Lisbon, a Whitsuntide procession in Andalucia and a first Communion in Mexico. Adopting an approach that combines intuition, patience and persistent curiosity - together with a rejection of cumbersome equipment - Harvey succeeds in minimizing the distance between himself and his subjects, producing images that capture the natural choreography of people within places and that resonate with magic.

The Holocaust and attempts to deny it, racism, murder, the case of Mary Bell. How can we include these and countless other examples of evil within our vision of a common humanity? These painful human incongruities are precisely what Raimond Gaita boldly harmonizes in his powerful new book, A Common Humanity.Hatred with forgiveness, evil with love, suffering with compassion, and the mundane with the precious. Gaita asserts that our conception of humanity cannot be based upon the empty language of individual rights when it is our shared feelings of grief, hope, love, guilt, shame and remorse that offer a more potent foundation for common understanding. Drawing on the work of Hannah Arendt, Simon Weil, Primo Levi, George Orwell, Iris Murdoch and Sigmund Freud, Gaita creates a beautifully written and provocative new picture of our common humanity.

This book argues that Dutch Brazil (1624-54) is an integral part of Atlantic history and that it made an impact well beyond colonial and national narratives in the Netherlands and Brazil. In doing so, this book proposes a radical shift in interpretation. The Dutch Atlantic is widely perceived as an incongruity among more durable European empires, whereas Brazil occupies an exceptional place in the history of Latin America, which leads to a view of Dutch Brazil as self-contained and historically isolated. The Legacy of Dutch Brazil shows that repercussions of the Dutch infiltration in the Southern Hemisphere resonated across the Atlantic Basin and remained long after the fall of the colony. By examining its regional, national, and cosmopolitan legacies, thirteen authors trace the memories and mythologies of Dutch Brazil from the colonial period up until the present day and engage in broader debates on geopolitical and cultural changes at the crossroads of Atlantic and Latin American studies.

Seoul is a colossus both in its physical presence and the demand it places on any intellectual effort to understand it. How did it come to be? How can a city this immense work? Underlying its spectacle and incongruities is a city that might be described as ill at ease with its own past. The bitter rifts of Japanese colonization persist, as does the troubled aftermath of the Korean War and its divisions; the economic “Miracle on the Han” that followed is crosscut by memories of the violent dictatorship that drove it.In Seoul, author Ross King interrogates this contested history and its physical remnants, tacking between the city’s historiography and architecture, with attention to monuments, streets, and other urban spaces. The book’s structuring device is the dichotomy of erasure and memory as necessary preconditions for reinvention. King traces this phenomenon from the old dynasties to the Japanese regime and wartime destruction; he then follows the equally destructive reinvention of Korea under dictatorship to the brilliant city of the present with its extraordinary explosion of creativity and ideas―the post-1991 Hallyu, the Korean Wave. The final chapter returns to questions of forgetting and memory, but now as “conditions of possibility” for what would seem to underlie the present trajectory of this extraordinary city and culture.Seoul can be read, King suggests, in the context of the hybrid ideas that have characterized Korean cultural history. It may be their present eruption that accounts for the city of contradictions that confronts the contemporary observer and that most extraordinary of Korean phenomena: the rise of an alternative, virtual world, eclipsing both city and nation. Has the very idea of Korea been reinvented even as the weakly defined nation-state slips away?

Simon Peter was an ordinary man of no social standing. And yet Jesus chose him to be the “rock” upon which the church would be built. This apparent incongruity begs the question, What does Christ see in you? In this book and Bible study for men, Stuart Briscoe retells the gospel account of Simon Peter’s interactions with the Master and explores how God wants to use your potential just as He used Peter’s. Includes discussion questions.

In this ground-breaking book, musicologist Alfred Mann weaves documentary evidence of six great composers as students and teachers into a convincing study that reveals a basic incongruity between traditional musical theory and actual musical practice. The opening chapter of The Great Composer as Teacher and Student recounts how traditional disciplines of harmony and counterpoint were formed. The closing chapter exposes the skeptical attitude with which these disciplines were eventually viewed by many composers. In between are fascinating in-depth close-ups, complete with musical examples, of Bach, Handel, Haydn, Mozart, Beethoven and Schubert teaching and learning. We meet the great Bach teaching principles of part-writing. We follow Handel's lessons for Princess Anne, which are fully reproduced. We observe Mozart's classical studies in polyphony. For the very first time we see full documentation of Beethoven's studies in counterpoint with Haydn, including his homework-an extraordinary moment in musical history when both teacher and student were men of genius. Finally, we follow Schubert in his studies with Salieri and in his famous lesson with Sechter on the fugal answer. Illustrated with 63 musical examples and many lessons and studies, this outstanding book offers an unusual perspective on musical pedagogy and tantalizing glimpses of what it was like to study with music's greatest masters. Importantly, it reveals the extent to which a number of major composers transcended the bounds of existing musical theory.