Biographical Material Research Articles

Notas sobre paratopia criadora: o caso de Jane Austen para além de sua fortuna crítica

Com base no quadro teórico da Análise do Discurso de tradição francesa, particularmente em trabalhos recentes de Dominique Maingueneau (2006, 2008) sobre o que refere por discurso literário, focalizamos neste artigo um estudo de caso: o funcionamento da autoria de Jane Austen. Mobilizamos, para tanto, noções constitutivas da paratopia criadora, a saber, escritor, inscritor e pessoa. E, então, consideramos, além da produção dos textos autorais, material biográfico e variados estudos que circulam sobre a romancista, que tem fãs no mundo todo, entre os quais muitos se organizam em grupos de estudos e de celebração. Assim, tendo em vista o contexto social da Inglaterra na passagem do século XVIII para o XIX, quando é publicada a obra de Austen, procuramos compreender os elementos constitutivos da consagração da autora, que publicou sob pseudônimo e é aclamada hoje pela construção do que podemos chamar de uma “combativa identidade feminina”.

More than Subversion: Four Strategies for the Dominated

This article asks what strategies are available to dominated actors in fields of cultural production. Using archival and biographical materials on Ottoman/Turkish women intellectuals, we show that they effectively used, depending on their social and cultural capital and their past practices, at least four strategies. Apart from the well-theorized strategy of subversion, they could also deploy acquiescence, collaboration, and defiance. These four strategies, we argue, constitute a two-dimensional space defined by loyalty vs. resistance on one hand and the overtness vs. covertness of loyalty or resistance on the other. While much of this space is best understood in terms of reciprocal social exchange, the assumptions of exchange break down in the case of overt resistance, showing that strategy goes beyond negotiation and that the understanding of power as always-already implicated with resistance has limits.

Ben Burns and the Boundaries of Black Print in Chicago, 1942–1954

This article focusses on the career of Ben Burns, a white Jewish radical who came to play a central role in Chicago's black press during the mid-twentieth century. As an editor for periodicals such as theChicago Defender, Negro DigestandEbony, Burns helped to edit and develop some of the nation's most influential black publications. However, many of his readers remained oblivious to his racial identity – something which was both implicitly and explicitly obscured by his employers, and which was influenced by and manifested itself through the spatial politics of the workplace and the Chicago South Side. Drawing on a range of archival and biographical material, personal correspondence, and newspaper and magazine articles, this paper reconsiders Burns's literal movement through the terrain of Chicago's black press to assess his broader influence as a white editor in black journalism. Complicating depictions of Burns as a racial interloper, this article situates his contributions within a broader history of white participation in black print production. Furthermore, it demonstrates how the parameters of his role were heavily framed by the complex racial and spatial politics of the editorial room and Chicago's urban politics at mid-century.

A UK–US “Black Lexicon of Liberation”: A Bibliography of African American and Black British Artists, Artworks, and Art-Making Traditions

The Western canon of art history exerts a stranglehold that generates almost insurmountable problems for artists and audiences of Black art. It is shaped by gatekeepers who are committed not only to deciding which art is studied and which artists are worthy of inclusion but also to controlling the images and image-making traditions in ways that are structured in dominance. African diasporic artists have mobilized art-making traditions in an individual and collective fight for “a new visual language” that destabilizes and demythologizes any and all such prescription in definitions, theories, and ways of seeing. But at the heart of any and all difficulties in doing justice to them and their struggle is the very real problem of accessing their artworks, artist statements, exhibition histories, and biographical materials. Working with artists, artists’ estates, and galleries over the past few years, I have put together a bibliography for the benefit of researchers, consisting of artists’ archives, websites, repositories, exhibition histories, statements, interviews, and criticism. Conceiving of this compilation as a weapon in the arsenal of social justice, I have assembled this bibliography as a tool for artists and audiences who are dedicated to heeding the rallying cry of African American painter Winfred Rembert as he insists that we all must go “back into the battleground.”

АВТОБІОГРАФІЯ ЯК ІСТОРИКО-ПЕДАГОГІЧНЕ ДЖЕРЕЛО

The study of pedagogical personalities is one of the priority directions of the development of modern historical and pedagogical science. The article is a brief summary of the results of a research on the peculiarities of the source base of biographical research in modern historical and pedagogical science. The article presents a review of the basic components of the scientific biography. The author analyzes the origins of the formation of the biographical method as a tool of scientific research personnel, sources of biographical material.Autobiography is a valuable source of personal origin for the study of particular pedagogical personalities as well as the development of Ukrainian pedagogical thought, historical and pedagogical science in general. The article briefly reviews the peculiarities of the source base of biographical researches in modern historical-pedagogical science. The main components of the scientific biography are considered. The author analyzes the origins of the formation of the biographical method as an instrument of scientific research of the person, a source of biographical material. When using autobiography as a historical and pedagogical source, the researcher should obtain a broad erudition and possess the appropriate level of source culture, understand the content features of different genres of memoiristics and be acquainted with the methods and techniques of their critical and constructive analysis.Autobiography can be considered as an independent work in which an author investigates their own development.A representative sample of creative autobiographies of the individuals which are being studied as pedagogical personalities suggests that their main array as the original sources of pedagogical biography was formed in the second half of the XIX and 30s’ of XX century of the twentieth century, as in the next decades mainly dry official biographies were written. The content and direction of autobiographies are determined by the purpose and time of writing, since the creation of one author, appearing on different segments of life path, may have an excellent informational and content load.

Visualization of Abstract Audio-visual Information: An Analysis of Art Cognitive Activity Based on Electroencephalogram

Common short signals and special graphic signals are taken as targets to measure changes in the waveforms related to brain's events of artists so as to explore the reasons why artists can create high-quality works from the perspective of electroencephalogram (EEG). It is found that the occurrence of brain wave peaks in ordinary human brains delays and the wave amplitude reduces; under the stimulation of common signal, the occurrence of brain wave peaks in artist’s brains delays and the wave amplitude reduces. However, after taking appropriate amount of alcohol, the brain wave peak time delays, the wave amplitude rises and area of the waveform increases under the stimulation of the graphic signals that they are interested in. The phenomenon of artists’ high creativity often lies in some biographical literary works or historical materials, but few people analyze their principles from a scientific perspective. The author analyzes people’s thinking process from the perspective of thinking signal formation and information processing operation, as well as uses EEG measurement method to study the reasons why artists create high-quality works.

The American Otological Society at its Sesquicentennial: Insights Into the Society's Formative Years.

To elucidate the sequence of events which led to the formation of the American Otological Society (AOS) in 1868 and to examine the lives and contributions of the nine founding members of the Society. Study of primary historical documents, biographical material, and previous histories of the AOS. Earlier treatments of the history of the AOS minimally covered the events and personalities from the Society's formative period. The founders of the AOS were much influenced by recent advances in European Otology and the success of the nascent American Ophthalmological Society which had been founded in 1864. The AOS has long credited Elkanah Williams as its first president of the AOS, although he never actually served in this role and was not a contributor to otological literature. Documents suggest that 30 years old New York physician Daniel Bennett St John Roosa, recently returned from a grand tour of the leading European otological centers, was the principal advocate for the creation of the AOS. The 1860s were a pivotal period in the maturation of American Otology. Previously, most "aurists" were widely considered to be charlatans who practiced unscientifically and often unscrupulously. The AOS founder generation were a group of Ophthalmologists who strove to elevate otology from being a lesser appendage of the mother field to becoming a respected and scientifically based medical specialty in its own right.

Atmospheric Electricity at Durham (27 May 2017)

Atmospheric Electricity at Durham (27 May 2017)

Marquetry Cabinets Containing Newly Fashionable Pianofortes Made in Eighteenth-Century London: The Cabinet Maker’s Pianoforte — or the Pianoforte Maker’s Cabinet?

Two beautifully constructed ‘commodes’ [cabinets] attributed to Christopher Fuhrlohg, each containing a pianoforte signed by Frederick Beck survive, one in the Lady Lever Art Gallery, Port Sunlight and the other in the Royal Ontario Museum, Toronto (‘Commode’: an eighteenth-century French term for a storage cabinet — not, as in modern parlance, a chair containing a chamber pot). In the former the pianoforte is inscribed ‘Fredericus Beck Londini fecit 1775’; the name board of the latter is similarly inscribed and dated 1777. Earlier researchers have suggested that Beck commissioned Fuhrlohg to make the cases to house these instruments; however, their shape renders them impractical for the player. Why, one must ask, would a musical instrument maker adopt such a seemingly illogical approach? A more plausible explanation is that the reverse situation applies and that Fuhrlohg obtained these instruments from Beck for insertion into his cabinets, these being designed primarily as decorative pieces, suitable to grace the homes of wealthy patrons. This hypothesis is supported by newspaper advertisements placed by Fuhrlohg in 1776 and 1784.Other newly identified biographical materials include clear evidence of Beck’s presence in London as early as 1762; an extant example of an early pianoforte bearing his name, dated 1769; and the wills of both men, which firmly establish the dates of their respective deaths and provide new insights into their circumstances.

Genetic Connections in <em>Finnegans Wake:</em> Lucia Joyce and Issy Earwicker

The subject of Lucia Joyce’s alleged schizophrenia and her role in her father’s writing have gained popular attention since the publication of Carol Shloss’s controversial biography Lucia Joyce: To Dance in the Wake (2003). However, Shloss’s text has inspired a series of interpretations that do not verify her biographical claims: there is as of yet little academic scholarship on how Lucia can be understood as a direct influence on Joyce’s work. In this article, I seek to overcome the discrepancy through the use of genetic criticism, arguing that Lucia’s first breakdown in February 1932 and her increasing mental instability during the mid-1930s impacted the composition of portions of Finnegans Wake. I cross-reference available biographical material with draft changes in the James Joyce Archive, the pre-book publications of Finnegans Wake, issues of the modernist journal transition and artwork Lucia created for Joyce’s texts. In doing so I provide original and tangible scholarship on how Lucia Joyce contributed to the compositional development of Finnegans Wake.

БИОГРАФИЧЕСКИЕ МАТЕРИАЛЫ О СКАЗИТЕЛЯХ ВЕРХОЯНСКОЙ ТРАДИЦИИ В ЗАПИСЯХ А. А. САВВИНА И ЕГО КОРРЕСПОНДЕНТОВ: ПРИНЦИПЫ ФИКСАЦИИ

The article for the first time examines the biographical materials of the narrators of Verkhoyansk tradition gathered by A. A. Savvin and his correspondents during the Northern expedition of 1939-1941. They come out as non-textual sources when putting down the Yakut epos olonkho. The paper describes the principles used by A. A. Savvin and his correspondents when putting down the biographical materials which are presented as a data base of narrators, personal details and biographical information. A. A. Savvin registered narrators and put down biographical information of the narrators-olonkhosuts famous at that time, and correspondents filled in personal information of oral tradition bearers. It is shown that notations were made according to the system introduced in the “Program and instructions on how to gather the materials on the Yakut oral folklore” published by the Yakut folklorist G. U. Ergis in 1936. The paper also emphasizes an important role of the Russian tradition of folklore studies.

Региональная история учительства в личных фондах уральских учителей (на материале 1920—1930-х годов)

The publication is a part of the research work on the history of pedagogy and childhood of the 20 th century on the materials of personal funds of Ural teachers. The relevance of the study of the regional history of teaching in its relationship with the phenomenon of childhood is determined by the lack of interdisciplinary comprehensive analysis of the problem. The main directions of development of educational practice in the 1920-1930-ies are revealed. Biographical materials and memoirs of Ural teachers about the organization of the first Soviet schools, skill of teachers, daily life of people in a critical historical era are presented. Some features of the solution of actual problems of implementation of universal education and literacy of the population are shown. Elements of pedagogical experience on creation of cultural space of the childhood and organizational forms of realization of this experience in educational institutions are described. The contribution of teachers in the formation of the school in the Soviet period is mentioned. The information about selflessness of the Ural teachers, contributing to the study of pedagogical phenomena in the local-territorial aspect, is given. The possibilities of personal funds of Ural teachers to recreate the little-studied subjects of the history of the region on the basis of documents of personal origin are shown.

The Dublin James Joyce Summer School, 2018: 'Thirty Years On'

The Dublin James Joyce Summer School, 2018:'Thirty Years On' Alberto Tondello There is always a slight thrill surrounding a 30th birthday celebration. Distinguished either by a momentary crisis or a sense of accomplishment, thirty years of existence mark a point of awareness, a particularly ripe time for a re-evaluation. This year, the Dublin James Joyce Summer School celebrated its 30th anniversary, as Joycean researchers and enthusiasts from around the world gathered once again for the first week of July. Following the practised, consolidated structure of alternating morning lectures, afternoon seminars, and a wide variety of social activities, this year's Summer School seemed to develop around the work of reassessment typical for a 30th birthday. The morning lectures, delivered at the James Joyce Centre by ten exceptional speakers, presented new readings and interpretations challenging what might be seen as well-established ideas on Joyce, his time, and his works. Anne Fogarty, director of the School and Chair of Joyce Studies at UCD, set off this enriching process of re-evaluation with her opening lecture on Monday morning. Focussing on the rise of a new wave of modernism, Fogarty brilliantly analysed works by Anne Enright, Mike McCormack, and Eimear McBride to assess Joyce's political, ethical, and stylistic effects on contemporary Irish writers. Offering an image particularly fitting in a Dublin untouched by rain and struck by an unprecedented heat-wave, Fogarty suggested that Irish writers are learning to write in the light, rather than in the shadow, of James Joyce. This positive approach creates, in turn, a new picture of Joyce as an artist as it defines the contours of a writer who can be an animating force rather than an impediment, and a source of continuous development, rather than the origin of obstructive anxieties. In line with this vision, the morning lectures circled around ideas of influence and collaboration, and revealed through an array of different approaches the [End Page 228] relational forces playing at the heart of the work of the artist and of the scholar alike. Michael Cronin used Herbert Marcuse as a theoretical springboard to revisit some passages from A Portrait of the Artist as a Young Man. Differentiating between sexuality and eros, Cronin attempted to revitalize the (erotic) energy at work in A Portrait, showing how the artist is animated not only by cerebral but also by bodily and affective forces. If Cronin ended his talk by considering subjectivity as necessarily relational, Peter Kuch centred his lecture on the many ways in which a marital relationship might be legally interrupted. Presenting some of the research he undertook for his book Irish Divorce/Joyce's 'Ulysses', Kuch depicted the intricacies surrounding Irish divorce between World War I and the 1930s. Drawing from Every Man's a Lawyer (a book Joyce owned), legal texts, and more than 1,500 divorce cases in English and Irish newspapers, Kuch analysed the possibility of divorce faced by Molly and Bloom in the light of historical, legal, and archival sources. Through a similar mix of textual and historical analysis, Fritz Senn took the term 'exile' in its wider possible sense to conduct a fascinating analysis of the linguistic and biographical exiles in Joyce's works. Only a scholar with Senn's degree of knowledge and insight could have moved with such ease from an examination of the real people whom Joyce included—exiled, as it were—in Ulysses, to a close reading of some of Joyce's 'lexical exiles' or, as he put it, 'lexiles'. In his engaging lecture, Senn highlighted the pleasures of reading Ulysses, showing Joyce's ability to make things foreign by constantly breaking down frameworks, by changing the register of his characters, and by modifying words to create new meanings. Digging into textual and biographical material, Elizabeth Bonapfel and Luca Crispi were particularly skilful in questioning the image of Joyce as a solitary genius, pointing out the personal and professional connections which supported his creative work. Pursuing her research on punctuation, Bonapfel reconstructed the compositional history of A Portrait, tracing the changes in the use of dashes from 1904 to its revised, second edition in 1917. Moving dexterously from punctuation, to the complexities of editing...

Biography, Gender and History: Nordic Perspectives ed. by Erla Hulda Halldórsdóttir et al.

Reviewed by: Biography, Gender and History: Nordic Perspectives ed. by Erla Hulda Halldórsdóttir et al. Hannah Yoken (bio) Erla Hulda Halldórsdóttir, Tiina Kinnunen, Maarit Leskelä-Kärki, and Birgitte Possing, editors. Biography, Gender and History: Nordic Perspectives, K&H 2016, 274 pp. ISBN 978-9512966776, €25.00. As the title Biography, Gender and History: Nordic Perspectives makes clear, this volume triangulates three central themes—biography, history, and gender—and discusses them using case studies from across the Nordic region. The primary objective of the book is to strengthen the relationship between history and biography by utilizing biography as a method of historical analysis. The book is divided into four thematic sections: genre, gender, context, and relations. Despite the focus of the book being on case studies from the Nordic region, there is nothing explicitly Nordic in the theoretical and methodological scope presented in this collection. As articulated in the introduction, to talk of a biographical turn in the Nordic countries and beyond might be too stark, since there is a long tradition here of historical biography. However, what this collection does is approach biography from a critical point of [End Page 416] view. In its chapters this book problematizes and rethinks a multitude of aspects relating to biographical approaches to writing history, from the sources used to the theories applied. This book is of practical utility to researchers working on or considering working on historical approaches to biography or biographical approaches to history. What is refreshing about this interdisciplinary collection is the transparency with which researchers from various backgrounds discuss the methodological challenges they have faced while doing biographical research and the source-related resolutions that they have needed to make. For example, several chapters explore the trials of using sources that detail the lives of specific individuals without the input of the individuals themselves in the construction of these documents. To demonstrate this challenge, Irene Andersson discusses in her chapter on the Swedish Communist Valborg Svensson the use of surveillance information and how this type of information fits into a wider discursive network of primary sources. Another chapter by Kaisa Vehkalahti details the development of Finnish child welfare documents and how these sources produced life stories for administrative purposes. A second practical yet highly valuable insight stressed in this volume is how biography draws attention to and challenges the conventional structures of historiography. In her chapter on feminists Alexandra Gripenberg and Ellen Key, Tiina Kinnunen walks the reader through the challenges and benefits of narrating two lives in parallel by employing the concept "fighting sisters." Another related example is provided by Birgitte Possing, who discusses her rationale for structuring the biography of Danish politician Bodil Koch as a nonchronological, thematically driven narrative, while omitting heavy theoretical and methodological discussions from her book to make it accessible for a wider audience. Thus, what is being narrated in this collection is how historical research into the biographies of individuals has been conducted, as much as the biographies themselves. At times, this focus inevitably leads to methodological considerations and theoretical postulations overtaking and eclipsing the biographical material and life stories presented. However, the book is rich in suggested reading, with case studies often stemming from fuller biographical projects upon which these more methodological essays are based. While this collection does not focus on or offer novel revelations concerning the ethical dimensions of biographical research, it highlights some interesting approaches, most notably by suggesting we pay further attention to the relationship between the narrator and the individual being narrated. As Maarit Leskelä-Kärki concisely posits, researchers bring their own selves and life experiences into their research, whether knowingly or unconsciously, and there is a balance to be reached between getting too involved with [End Page 417] and remaining too distant from the individual being researched. While not at the forefront of the analysis provided, Leskelä-Kärki extends processes of relationality to also encompass the relationship between author and reader. Though this proposition is not explored in depth in the book, it leads to important questions surrounding the extent to which writing by historians should be approachable and accessible to wider audiences. Biography, which as a genre...

Recollections from My Life: An Autobiography by Adolph Bernhard Marx trans. by Stephen Thomson Moore

Reviewed by: Recollections from My Life: An Autobiography by Adolph Bernhard Marx trans. by Stephen Thomson Moore Floyd Grave Recollections from My Life: An Autobiography by Adolph Bernhard Marx. Translation by Stephen Thomson Moore, introduction and notes by R. J. Arnold. Lives in Music Series, no. 14.) Hillsdale, NY: Pendragon Press, 2016. [xxi, 230 p. ISBN 9781576472491 (paperback), $70.] Illustrations, bibliography. Adolph Bernhard Marx (1795–1866) was nearing the end of an illustrious career as a music theorist, journalist, critic, biographer, and composer when he wrote his Erinnerungen: Aus meinem Leben in late 1864. Undertaken while he was recuperating from illness, the project offered him an opportunity to reflect on successes, failures, hopes, and disappointments, and to ponder deeply the life experiences that informed his outlook and self-knowledge. As he describes in an afterword, dated 4 March 1865, the effort gave rise to impressions so vivid that it seemed he was living his life "a second time" (p. 229). The document that resulted, published by the Berlin firm of Otto Janke in 1865, comprises two volumes of sixteen chapters each. Marx begins as one might expect, with childhood images and accounts of personal development involving family, friends, school, music lessons, and the like, but eventually the chronological thread loosens, especially in the second volume, where the succession of chapters—with titles such as "The Mendelssohn House," "Travel and Recreation," "The Wide World," and "Friedrich Wilhelm IV"—suggests something more akin to an album of snapshots ("pictures of my past" [p. 229]) than a cohesive autobiographical narrative. [End Page 296] Exercising a phenomenal memory, in language that is sometimes more spontaneous than polished, often verbose, and nearly always colorful and engaging, Marx presents himself as a tirelessly wide-eyed observer, a shrewd and inquisitive portraitist, an avid limner of cities and landscapes, and an active participant in the cultural life of his times, eager to enjoy the artistic and intellectual companionship of contemporaries. He takes due pride in his stature and accomplishments, but the spotlight shines brightly on the author himself only on special occasions, most notably when he describes the hugely successful 1843 performance of his oratorio Mose in Erfurt (p. 207). Otherwise, instead dwelling extensively on his own achievements, he invites us to join him as spectators in a ramble through the stations of his career and to see through his eyes the people, places, and events that impressed or influenced him most deeply. Prominent names pass in review, including E. T. A. Hoffmann, Robert Schumann, Niccolò Paganini, Angelica Catalani, Ignaz Moscheles, Friedrich Kalkbrenner, and Franz Liszt; facets of artistic activity in early nineteenth-century Berlin come into sharp focus, most notably in the realms of opera, spoken theater, and ballet. Marx also expounds in revealing detail on his acquaintance with two major figures of the time: Gaspare Spontini, whose tenure as music director in Berlin was marked by turbulence and ultimate disgrace, and Felix Mendelssohn, with whom he enjoyed, for at least a time, a warm working relationship. Marx's reminiscences naturally concentrate on the urban environments in which he flourished. Yet some of the most heartfelt, evocative passages in the book concern memories of escape to the countryside. Displaying a finely tuned, romantic sensitivity to the natural world, his commentary on days spent wandering through Thuringia, and eventually as far south as Innsbruck, includes passages that leap off the page as fragments of a veritable pastoral symphony in prose. Given the scarcity of biographical material on Marx in any language, Stephen Thomson Moore's translation of the Erinnerungen makes a welcome addition to Pendragon's Lives in Music series; its value is enhanced by the contributions of Moore's collaborator, R. J. Arnold, who provides not only a wealth of explanatory footnotes but also an informative introduction that supplies historical perspective and cultural orientation. Arnold observes that the very concept of a musician's autobiography was still a novel idea in Marx's day, inspired by "a belief that one's inner life ought to be at least as important as the events that take place externally" (p. x). He classifies Marx as a "thoroughgoing Hegelian" (p. xvi), noting his "groping towards, grasping of, and eventually...

Historical Issues of the "Evacuated Variety Art" (biographical materials of Leningrad variety artists)

Historical Issues of the "Evacuated Variety Art" (biographical materials of Leningrad variety artists)

Notes for Clarinetists: A Guide to the Repertoire by Albert R. Rice

Reviewed by: Notes for Clarinetists: A Guide to the Repertoire by Albert R. Rice Sonia Archer-Capuzzo Notes for Clarinetists: A Guide to the Repertoire. By Albert R. Rice. (Notes for Performers.) New York: Oxford University Press, 2017. [xv, 281 p. ISBN 9780190205201 (hardcover), $105; 9780190205218 (paperback), $27.95. Also available as an e-book (ISBN and price varies).] Music examples, illustrations, bibliography, index. Albert R. Rice is a well-known author of scholarly works about the clarinet and its history, literature, and development. His research on the clarinet in the Baroque and Classical periods has been praised as a "massive and rather daunting organizational task" (Eric Hoeprich, review of The Baroque Clarinet, by Albert R. Rice, Notes 50, no. 1 [September 1993]: 187) involving "a vast amount of data" (Alissa Abrams, review of The Clarinet in the Classical Period, by Albert R. Rice, Notes 62, no. 3 [March 2006]: 729). Like his earlier works, Rice's most recent publication, Notes for Clarinetists: A Guide to the Repertoire, is thoroughly researched and full of useful detail. It provides a valuable store of information about the clarinet's core repertoire. The second volume in the Notes for Performers series produced by Oxford University Press, Notes for Clarinetists provides a list of some of the most important compositions for solo clarinet, clarinet and piano, or clarinet and orchestra (p. xi). The series follows two key guidelines: (1) pieces must be among the best known for the instrument, and (2) only one work may be chosen per composer. In his preface, Rice further stipulates that he chose repertoire for its musical quality, frequency of performance, and "substantial and creative use of the clarinet" (p. xii). These criteria are somewhat subjective, leading to a list of compositions that includes a few works that might not make everyone's inventory of clarinet standards. However, the vast majority of the pieces described in the book are important and popular contributions to the clarinet repertoire. [End Page 446] Each chapter in Notes for Clarinetists focuses on a different composition, organized alphabetically by the last names of the composers, ranging from Arthur Benjamin to Carl Maria von Weber. Chapters follow a standard formula consisting of biographical material on the composers, a short explanation of their compositions, and an analysis of their specific pieces for clarinet. For each piece, Rice also outlines its technical and expressive challenges and how it might best fit into a concert program. Although each chapter is fewer than ten pages in length, Rice manages to pack a great deal of detail into a small space. In addition to tempo indications (such as allegro), he often provides metronome markings, stipulating when these markings are his own suggestions. He augments his simple form charts for each piece or movement with discussions of important aspects of the composition, including pitch, rhythm, meter, and dynamics. There is some flexibility built into this format, which allows Rice to discuss a wide-ranging selection of works. For example, in the section on William O. Smith's Variants for Solo Clarinet, he concentrates on advanced techniques such as multiphonics and flutter tonguing, but in the next chapter, about Louis Spohr's Concerto for Clarinet and Orchestra, op. 26, his focus shifts to musical form and how the friendships between Spohr, Johann Simon Hermstedt, and various clarinet makers influenced the development of the instrument (pp. 206–19). In some cases, Rice corrects mistakes in specific editions or recommends which editions the performer should favor over others. This advice can be quite helpful, for example in the case of the Sonata for Clarinet and Piano by Francis Poulenc. Rice points out that the first edition has a number of "notation ambiguities" (p. 163) because Poulenc died before the work was premiered. In spite of multiple revisions and much study over the years, numerous errors persisted until the publication of the sixteenth edition in 2006 (p. 164). Similarly, Rice discusses the many different editions and arrangements of Wolfgang Amadeus Mozart's Concerto for Clarinet and Orchestra, K. 622 (pp. 128–35). Originally written for the basset-horn, the piece is now more frequently performed on a modern clarinet in A. Because the range of...

An Introduction to the Study of Jeremiah by C. L. Crouch

Reviewed by: An Introduction to the Study of Jeremiah by C. L. Crouch David A. Bosworth c. l. crouch, An Introduction to the Study of Jeremiah (T&T Clark Approaches to Biblical Study; London: Bloomsbury T&T Clark, 2017). Pp. x + 181. Paper $26.96. Crouch seeks to offer a concise introduction to the Book of Jeremiah and the scholarship concerning it to an audience that may include laypeople, pastors, graduate students, and scholars entering into the complexities of Jeremiah scholarship for their teaching or research. The task is complicated by the confusing nature of the book and the lack of scholarly consensus about how to make sense of it. C. navigates these complexities gracefully and offers a sophisticated, nuanced, yet coherent introduction to sometimes seemingly incoherent material. There are not “assured results” of Jeremiah scholarship for C. to summarize, but a long and convoluted discussion of the book in modern times with shifting assumptions and methods brought to bear on a book whose complexity is intensified by the two significantly different versions in Hebrew and Greek. C. unfolds her introduction in six chapters. In chap. 1, she introduces the history of the end of the state of Judah as an important context for the book. In chap. 2, she surveys the content of MT Jeremiah by offering brief commentary on units of the text ranging from one to five chapters followed by a general discussion [End Page 515] of LXX Jeremiah and its major differences from the MT. In chap. 3, she summarizes twentieth-century scholarship on Jeremiah and its emphasis on the historical Jeremiah and Deuteronomistic redactional activity. This scholarship begins with Bernhard’s Duhm’s distinction of three main sources: poetry, prose sermons, and prose biographical material (Das Buch Jeremia [Tübingen: Mohr, 1901]). Late in the century, scholars doubted the distinctions among these sources and the uniformity within them, so the foundations of research foundered and commentators began to notice how diverse and contrary traditions stood juxtaposed. As the search for the historical Jeremiah collapsed, the field opened up for many other methods. In chap. 4, C. describes the historical-critical methods and the newer synchronic and contextual approaches in largely generic terms (without much reference to Jeremiah). In chap. 5, she describes, in what is by far the longest chapter, how some of these contemporary methods have been applied to specific passages in Jeremiah. For example, she discusses in detail how approaches to Jeremiah 1 are overwhelmingly literary rather than historical, and she analyzes MT Jeremiah 25 and LXX Jeremiah 25 and 32 to explore how Jeremiah traditions took these two forms. In chap. 6, C. provides a short conclusion, noting the change in attitude toward the complexity of Jeremiah from a problem that obstructed the quest for the historical Jeremiah to an opportunity for readers to grapple with the book’s diversity and resist the temptation to reduce it to a flat and monotonous uniformity. The volume concludes with appendixes detailing the MT and LXX chapters and verses and ancient Near Eastern kings, a bibliography categorized by topic, and indexes of scriptural texts, modern authors, and subjects. Crouch had created a concise introduction to a complex area of scholarship. Her work communicates a good grasp of Jeremiah scholarship to those who are novices in this area. It would be an excellent reading for certain upper-level classes or any reader seeking an orientation to Jeremiah studies. David A. Bosworth The Catholic University of America, Washington, DC 20064 Copyright © 2018 The Catholic Biblical Association of America

Do We Need a New Biography of Michel Foucault?

Do We Need a New Biography of Michel Foucault? Stuart Elden (bio) In the 34 years since his death, there has been no lack of interest in Michel Foucault's work. His ideas continue to be analysed, critiqued, utilised, and cited, across an ever-broadening range of disciplines. New books of material by Foucault, whether lecture courses or other previously unpublished material, have appeared at a rapid rate over the last twenty years. Most of these have been quickly translated into English and other languages. Yet there has been no new biography of Foucault for twenty-five years. Didier Eribon's biography was translated in 1991, and David Macey's The Lives of Michel Foucault and James Miller's The Passions of Michel Foucault both appeared in 1993. Naturally, some of the many books on Foucault have had biographical elements, of which David Halperin's Saint Foucault (1995) is perhaps the key example. But that book, as with so many other interpretations and analyses had a rather different purpose than a biography in a strict sense. It was to read Foucault as a gay saint, a figure who could be held up as an exemplar of a particular way of life. I do not doubt that he can be that, but he was of course much more. The second and third editions of Eribon's biography, which appeared in French in 1992 and 2011, are important. The third, in particular, includes a lot of new material, and its English translation is overdue: the existing translation is of the first French edition (1989). Eribon's Michel Foucault et ses contemporains also includes a lot of biographical material, and there are biographical discussions in his Insult and the Making of the Gay Self (1999, 2004). Macey moved onto other topics before his own early death in 2011. His biography will be reissued by Verso in 2019, with an afterword by me. While Eribon and Macey are hard to beat in terms of their analysis and breadth of coverage, a large amount of new material has come to light in the past several years. Beginning in 1997, all Foucault's courses at the Collège de France have been published under the general editorship of François Ewald and Alessandro Fontana. The last of these appeared in French in 2015 and is currently being translated by Graham Burchell. A number of other volumes of material have appeared posthumously. These include Foucault's Introduction to his translation of Kant's Anthropology, originally submitted as part of his secondary thesis. Lecture courses from Toronto, Louvain, Berkeley, and Dartmouth have all been published, as well as volumes of interviews, radio addresses, and other talks. His activist work with the Groupe d'Information sur les prisons (GIP) has been collected in two French volumes edited by Philippe Artières and others (2003, 2013), and an English translation of some of this material is forthcoming. In 2013, the Bibliothèque nationale de France (BnF) bought a large collection of Foucault's papers from his partner, Daniel Defert, and much of this is now available to researchers. Led by Foucault's nephew, Henri-Paul Fruchaud, and with the assistance of Daniele Lorenzini, Ariana Sforzini, Elisabetta Basso and others, some of this material has been published, and a future programme is underway. In recent years we have had, for example, an early 1960s text on madness, the introduction to an early draft of The Archaeology of Knowledge, and a text on Homer dating from the same period. And perhaps the most eagerly awaited, the fourth volume of the History of Sexuality, Les aveux de la chair, was published in February 2018. Some recent books on Foucault have made use of this newly available material to fill out their analysis of Foucault. This was certainly the impetus behind my own studies Foucault's Last Decade (2016), Foucault: The Birth of Power (2017) and one for which the research is still ongoing, The Early Foucault. With each of these, taking the periods 1974-84, 1969-74, and 1950-61 respectively, I have tried to outline Foucault's intellectual history through a juxtaposition of his writings and speeches, his interviews, his lectures and...

«Запретный» ислам в советской Украине

One of the least studied and documented periods of the existence of Islam in Ukraine is the Soviet period. In Soviet Ukraine, Muslims were present, as evidenced by the existence of mosques in several major cities, Muslim cemeteries, and a number of ethnonyms (for example, the suburb of Kiev called Tatarka). These were primarily the Volga Tatars, who constituted a significant, if not the largest part of the Muslims of Ukraine both in the pre-war and post-war periods — even after the transfer of Crimean region to Ukraine in 1954, as Crimean Muslims remained deported in Central Asia. Another group of Ukrainian Muslims were the so-called Polish-Lithuanian Tatars, who lived mainly in Western Ukraine. However, for the authorities of the Ukrainian Soviet Republic they did not exist. Muslims could not register a religious community and were forced to perform religious rituals illegally, at the risk of encountering oppression by law enforcement.In my paper I will consider the phenomenon of Muslim communities in Soviet Ukraine, the features of their existence and religious life. I will show that, despite the actual prohibition of the existence of organised forms of Islam, Ukrainian Muslims continued to be part of a wider discourse of «Soviet» Islam, maintaining unoffcial links with the centers of Islamic life in the USSR. I will also touch on the issue of strategies for preserving ethnic and confessional identity by Ukrainian Muslims in the face of the threat of cultural and religious assimilation.For the research, I used materials from personal archives, own field studies, interviews, local lore publications in local and republican press, biographical materials, as well as studies on this topic by Ukrainian authors.