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Today, teachers and performers of Turkish classical music intentionally cultivate melancholies, despite these affects being typically dismissed as remnants of the Ottoman Empire. Melancholic Modalities is the first in-depth historical and ethnographic study of the practices socialized by musicians who enthusiastically teach and perform a present-day genre substantially rooted in the musics of the Ottoman court and elite Mevlevi Sufi lodges. Author Denise Gill analyzes how melancholic music-making emerges as pleasurable, spiritually redeeming, and healing for both the listener and performer.Focusing on the diverse practices of musicians who deploy and circulate melancholy in sound, Gill interrogates the constitutive elements of these musicians' modalities in the context of emergent neoliberalism, secularism, political Islamism, Sufi devotionals, and the politics of psychological health in Turkey today. In an essential contribution to the study of ethnomusicology and psychology, Gill develops rhizomatic analyses to allow for musicians' multiple interpretations to be heard. Melancholic Modalities uncovers how emotion and musical meaning are connected, and how melancholy is articulated in the world of Turkish classical musicians. With her innovative concept of "bi-aurality," Gill's book forges new possibilities for the historical and ethnographic analyses of musics and ideologies of listening for music scholars.

Today, teachers and performers of Turkish classical music intentionally cultivate melancholies, despite these affects being typically dismissed as remnants of the Ottoman Empire. Melancholic Modalities is the first in-depth historical and ethnographic study of the practices socialized by musicians who enthusiastically teach and perform a present-day genre substantially rooted in the musics of the Ottoman court and elite Mevlevi Sufi lodges. Author Denise Gill analyzes how melancholic music-making emerges as pleasurable, spiritually redeeming, and healing for both the listener and performer.Focusing on the diverse practices of musicians who deploy and circulate melancholy in sound, Gill interrogates the constitutive elements of these musicians' modalities in the context of emergent neoliberalism, secularism, political Islamism, Sufi devotionals, and the politics of psychological health in Turkey today. In an essential contribution to the study of ethnomusicology and psychology, Gill develops rhizomatic analyses to allow for musicians' multiple interpretations to be heard. Melancholic Modalities uncovers how emotion and musical meaning are connected, and how melancholy is articulated in the world of Turkish classical musicians. With her innovative concept of "bi-aurality," Gill's book forges new possibilities for the historical and ethnographic analyses of musics and ideologies of listening for music scholars.

Why does agency -- the capacity to make choices and to act in the world -- matter to us? Why is it meaningful that our intentions have effects in the world, that they reflect our sense of identity, that they embody what we value? What kinds of motivations are available for political agency and judgment in an age that lacks the enthusiasm associated with the great emancipatory movements for civil rights and gender equality? What are the conditions for the possibility of being an effective agent when the meaning of democracy has become less transparent? David Kyuman Kim addresses these crucial questions by uncovering the political, moral, philosophical, and religious dimensions of human agency. Kim treats agency as a form of religious experience that reflects implicit and explicit notions of the good. Of particular concern are the moral, political, and religious motivations that underpin an understanding of agency as meaningful action. Through a critical engagement with the work of theorists such as Judith Butler, Charles Taylor, and Stanley Cavell, Kim argues that late modern and postmodern agency is found most effectively at work in what he calls "projects of regenerating agency" or critical and strategic responses to loss. Agency as melancholic freedom begins and endures, Kim maintains, through the moral and psychic losses associated with a broad range of experiences, including the moral identities shaped by secularized modernity and the multifold forms of alienation experienced by those who suffer the indignities of racial, gender, class, and sexuality discrimination and oppression. Kim calls for renewing the sense of urgency in our political and moral engagements by seeing agency as a vocation, where the aspiration for self-transformation and the human need for hope are fundamental concerns.

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California and the Melancholic American Identity in Joan Didion’s Novels: Exiled from Eden focuses on the concept of Californian identity in the fiction of Joan Didion. This identity is understood as melancholic, in the sense that the critics following the tradition of both Sigmund Freud and Walter Benjamin use the word. The book traces the progress of the way Californian identity is portrayed in Joan Didion’s novels, starting with the first two in which California plays the central role, Run River and Play It As It Lays, through A Book of Common Prayer to Democracy and The Last Thing He Wanted, where California functions only as a distant point of reference, receding to the background of Didion’s interests. Curiously enough, Didion presents Californian history as a history of white settlement, disregarding whole chapters of the history of the region in which the Californios and Native Americans, among other groups, played a crucial role: it is this reticence that the monograph sees as the main problem of Didion’s fiction and presents it as the silent center of gravity in Didion’s oeuvre. The monograph proposes to see the melancholy expressed by Didion’s fiction organized into four losses: of Nature, History, Ethics, and Language; around which the main analytical chapters are constructed. What remains unrepresented and silenced comes back to haunt Didion’s fiction, and it results in a melancholic portrayal of California and its identity – which is the central theme this monograph addresses.

Book is in NEW condition. 2.03

California and the Melancholic American Identity in Joan Didion’s Novels: Exiled from Eden focuses on the concept of Californian identity in the fiction of Joan Didion. This identity is understood as melancholic, in the sense that the critics following the tradition of both Sigmund Freud and Walter Benjamin use the word. The book traces the progress of the way Californian identity is portrayed in Joan Didion’s novels, starting with the first two in which California plays the central role, Run River and Play It As It Lays, through A Book of Common Prayer to Democracy and The Last Thing He Wanted, where California functions only as a distant point of reference, receding to the background of Didion’s interests. Curiously enough, Didion presents Californian history as a history of white settlement, disregarding whole chapters of the history of the region in which the Californios and Native Americans, among other groups, played a crucial role: it is this reticence that the monograph sees as the main problem of Didion’s fiction and presents it as the silent center of gravity in Didion’s oeuvre. The monograph proposes to see the melancholy expressed by Didion’s fiction organized into four losses: of Nature, History, Ethics, and Language; around which the main analytical chapters are constructed. What remains unrepresented and silenced comes back to haunt Didion’s fiction, and it results in a melancholic portrayal of California and its identity – which is the central theme this monograph addresses.

In The Dark Side of Genius, Laurinda Dixon examines “melancholia” as a philosophical, medical, and social phenomenon in early modern art. Once considered to have a physical and psychic disorder, the melancholic combined positive aspects of genius and breeding with the negative qualities of depression and obsession. By focusing on four exemplary archetypes—the hermit, lover, scholar, and artist—this study reveals that, despite advances in art and science, the idea of the dispirited intellectual continues to function metaphorically as a locus for society’s fears and tensions.The Dark Side of Genius uniquely identifies allusions to melancholia in works of art that have never before been interpreted in this way. It is also the first book to integrate visual imagery, music, and literature within the social contexts inhabited by the melancholic personality. By labeling themselves as melancholic, artists created and defined a new elite identity; their self-worth did not depend on noble blood or material wealth, but rather on talent and intellect. By manipulating stylistic elements and iconography, artists from Dürer to Rembrandt appealed to an early modern audience whose gaze was trained to discern the invisible internal self by means of external appearances and allusions. Today the melancholic persona, crafted in response to the alienating and depersonalizing forces of the modern world, persists as an embodiment of withdrawn, introverted genius.

In The Dark Side of Genius, Laurinda Dixon examines “melancholia” as a philosophical, medical, and social phenomenon in early modern art. Once considered to have a physical and psychic disorder, the melancholic combined positive aspects of genius and breeding with the negative qualities of depression and obsession. By focusing on four exemplary archetypes—the hermit, lover, scholar, and artist—this study reveals that, despite advances in art and science, the idea of the dispirited intellectual continues to function metaphorically as a locus for society’s fears and tensions.The Dark Side of Genius uniquely identifies allusions to melancholia in works of art that have never before been interpreted in this way. It is also the first book to integrate visual imagery, music, and literature within the social contexts inhabited by the melancholic personality. By labeling themselves as melancholic, artists created and defined a new elite identity; their self-worth did not depend on noble blood or material wealth, but rather on talent and intellect. By manipulating stylistic elements and iconography, artists from Dürer to Rembrandt appealed to an early modern audience whose gaze was trained to discern the invisible internal self by means of external appearances and allusions. Today the melancholic persona, crafted in response to the alienating and depersonalizing forces of the modern world, persists as an embodiment of withdrawn, introverted genius.

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In the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous.O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects―those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies.

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In the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous.O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects―those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies.

Melancholics Anonymous Edward Ka-Spel - CD 753907149326

Fourth album from this Swedish singer/songwriter with beautiful songs. Featuring American singer Israel Nash Gripka on one song.

Painted during Picassos Blue Period which spraing from early years of poverty uring the time he first moved to Paris Picasso was a melancholic soul who devoted himself to painting other lost souls. Before this time period when he practiced art Picasso would ruthlessly observe people - but after experiencing poverty and melancholy his tone changed to viewing them with sympathy and tenderness. During this period of sadness he painted solitary emaciated fiures often alone with vague and empty backgrounds. Frame Description Spencer Rustic.

Diptych Set - This melancholic view of a dilapidated barn is striking and evocative, a moment in time captured for all eternity. The motion of the wind is evident in the trees, yet the image is still and aged, a contradiction like the barn itself. These pieces from the Arte de Legno collection use a high definition U.V. giclee printed on solid fir wood planks. Empire Art Direct hand selects solid fir and select the best representations of fir planks that exemplify all the finest characteristics of this sustainable natural wood. Then they are printed on a version of the natural unpainted fir. The EAD Artist Coop provides the varied imagery that we select for this specific medium of alternative wall art from fine photography to grunge. Color: Natural Wooden/Brown.

Painted during Picassos Blue Period which spraing from early years of poverty uring the time he first moved to Paris Picasso was a melancholic soul who devoted himself to painting other lost souls. Before this time period when he practiced art Picasso would ruthlessly observe people - but after experiencing poverty and melancholy his tone changed to viewing them with sympathy and tenderness. During this period of sadness he painted solitary emaciated fiures often alone with vague and empty backgrounds. Frame Description Veine DOr Bronze Angled Frame.

Painted during Picassos Blue Period which spraing from early years of poverty uring the time he first moved to Paris Picasso was a melancholic soul who devoted himself to painting other lost souls. Before this time period when he practiced art Picasso would ruthlessly observe people - but after experiencing poverty and melancholy his tone changed to viewing them with sympathy and tenderness. During this period of sadness he painted solitary emaciated fiures often alone with vague and empty backgrounds. Frame Description Champagne Silhouette Frame.

Contents: Green Leaf Prelude * Melancholic Piece * Revolving Doors * Slicked Back Tango.Features:Pages: 26Instrumentation: BassoonInstrumentation: ...