UMI Research Press Research Articles

Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region

Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region

Lalo’s Fiesque

Lalo’s Fiesque Jacek Blaszkiewicz Édouard Lalo. Fiesque: Grand opéra en trois actes. Édition de Hugh Macdonald. Édition du livret de Vincent Giroud et Paul Prévost. (L’opéra français.) Kassel: Bärenreiter, 2012. [Foreword in Fre., Eng., Ger., p. vii–viii; introd. in Fre., Eng., Ger., p. ix–xx; libretto, p. xxi–xxxiv; table des morceaux, p. 1; personnages/orchestre, p. 2; score, p. 3–581; appendix, p. 585–601; crit. report, p. 603–15; facsims., p. 619–21. ISMN 979-0-006-53046-5; pub. no. BA 8703. €623.] [End Page 525] Édouard Lalo’s Fiesque is an opera in three acts, composed between 1866 and 1868, but never performed in the composer’s lifetime. In fact, Fiesque had its world premiere only in 2006, in a concert performance with Roberto Alagna in the title role and Alain Altinoglu conducting; the performance was recorded and issued in 2011 by Deutsche Grammophon, and to date remains the sole recording of the work (DG 476 454-7). Although Lalo is perhaps best known for his virtuosic Cello Concerto and the Symphonie espagnole, this earlier dramatic work laid the foundation for the vigorous rhythmic drive pervading his later compositions. The opera’s long journey from a scandal-ensuing third-place finish in an 1869 competition to Hugh Macdonald’s elegant critical edition for Bärenreiter’s L’opéra français series is worth briefly recounting here. Lalo was forty-three when his second wife Julie-Marie-Victoire Bernier de Maligny, herself a singer, seems to have persuaded her husband to compose a stage work. Lalo chose Charles Beauquier, an anti-Imperial politician and writer, as the librettist. As Macdonald notes in the edition’s introduction, it was probably Beauquier’s and Lalo’s shared republican leanings that drew them to Schiller’s Die Verschwörung des Fiesco zu Genua (1782–83) as the material for an opera. Schiller’s tragedy is based on the conspiracy led by Giovanni Luigi di Fieschi, Count of Lavagna, against the Genoese ruling family of Doria in 1547. Beauquier reduced the main action of the opera to three conflicts: the republican Fiesque and his colleagues are determined to overthrow the ruling Dorias, although the actual reasons for the overthrow are only briefly stated at the onset of the opera (p. xvi). Verrina, a zealous republican one generation older than Fiesque, distrusts his younger compatriot’s motives and is determined to prevent his rise to power. Finally, Léonore, Fiesque’s wife, is jealous of her husband’s involvement with Julie, daughter of Andrea Doria. The Moor Hassan, a basso buffo, appears as the comic character in both Schiller’s tragedy and Beauquier’s libretto. Hassan is ready to do anyone’s bidding for money, changing allegiance at the toss of a seguin. As Macdonald observes in an earlier publication entitled “A Fiasco Remembered: Fiesque Dismembered” (in Slavonic and Western Music: Essays for Gerald Abraham, ed. Malcolm Hamrick Brown and Roland John Wiley [Ann Arbor, MI: UMI Research Press; Oxford: Oxford University Press, 1985], 163–85), Lalo characterizes Hassan through a staccato vocal line in or , over a lightly textured accompaniment (see for instance, act 2, pp. 334–44). His rapid-fire syllabic declamations recall those of Bartolo in Il barbiere di Siviglia, or—to mention an exotic precedent—those of Osmin in Die Entführung aus dem Serail. Political revolution served as operatic subject matter even before the Second Empire, in such successful, albeit controversial, works as Rossini’s Guillaume Tell and Auber’s La muette de Portici. However, politics could not have been the only determining factor for Beauquier’s and Lalo’s choice of story; Macdonald notes that in 1864 Jules Barbier had written a Fiesque libretto for Charles Gounod that was never set to music (p. xiii). Lalo was friendly with the older composer, even calling upon him to vouch for a production of Fiesque in Brussels. However, nothing came of Gounod’s interventions; in a letter to Lalo’s mother-in-law Gounod explained that “a theatre director is in a way constrained to bet on a sure thing; instead of having faith in the public, he caters...

‘One walked of course with one's eyes greatly open’ (Henry James): London Sights in Alvin Langdon Coburn, Henry James, and Joseph Pennell

‘A city must remain open to knowing that it does not yet know what it will be’ (Jacques Derrida). ‘To suppress the appearance would be to abolish social relations’ (Etienne Balibar). For some 20 ye...

The weather in the architecture: Soane, Turner and the ‘Big Smoke’

The weather in the architecture: Soane, Turner and the ‘Big Smoke’

Donald Kuspit's Achievement as an Art Critic During the 1970s

Donald Kuspit's Achievement as an Art Critic During the 1970s

Chambonnières, A Thematic Catalogue: The Complete Works of Jacques Champion de Chambonnières (1601/02–1672) (review)

Reviewed by: Chambonnières, A Thematic Catalogue: The Complete Works of Jacques Champion de Chambonnières (1601/02–1672) Stuart Cheney Chambonnières, A Thematic Catalogue: The Complete Works of Jacques Champion de Chambonnières (1601/02–1672). Compiled by Bruce Gustafson. http://sscm-jscm.press.uiuc.edu//instrumenta.html (accessed 19 November 2008). The high quality and thoroughness that we justifiably expect from Bruce Gustaf son's work with French harpsichord music and its sources is evident everywhere in this new online catalog. Gustafson has already produced the groundwork for research in his French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary (Ann Arbor: UMI Research Press, 1979), as well as numerous articles and editions of the music. The author's previous work on Jacques Champion de Chambonnières began with the 1979 catalog, its 1990 updates in an appendix to A Catalogue of French Harpsichord Music, 1699–1780 (Oxford: Clarendon Press, 1990), and continues with the Broude Trust's forthcoming modern edition of the famous Bauyn manuscript. That Gustafson would return to Chambonnières over the years is natural since this music is the foundation of the magnificent and influential French harpsichord school that flourished from the 1630s beyond the mid-eighteenth century. Chambon nières was a third-generation keyboard performer and composer in French royal service. His father Jacques Champion, sieur de la chapelle, and grandfather Thomas Champion (called "Mithou") were highly praised by Marin Mersenne in his Harmonie universelle (Paris: S. Cramoisy, 1636–37), who went on to describe Cham bon nières's playing and compositions as evidence that the harpsichord had "met its ultimate master." Hundreds of manuscript copies of Chambonnières's works produced during and after his lifetime attest to his popularity, and less than two years before his death he printed two books of his harpsichord pieces. Chambonnières's astute judgment of young Louis Couperin brought the latter to Paris in the early 1650s and established that family's dynasty in organ and harpsichord performance across the eighteenth century. Chambon nières also taught Jacques Hardel and perhaps Jean Henry d'Anglebert. The Chambonnières thematic catalog is the first volume in a new series—JSCM Instrumenta—produced by the Journal of Seventeenth-Century Music, the online journal of the Society for Seventeenth-Century Music. These are data collections that can be "revised by the author when new information is discovered." This catalog is also the foundation for a complete works edition, underway by Gustafson and Denis Herlin. After Gustafson's preface, where he justifies the need for a catalog to gain control of the "complex web of concordances and versions" of Chambonnières's works, the introduction provides Chambonnières's biography, followed by overviews of the printed and manuscript sources. The "Explanation of the Catalogue" clearly guides the user through the catalog's contents and features, explaining its structure, ordering, abbreviations, and other details. These introductory materials end with the list of RISM abbreviations for the seventy-six libraries (to date) that own manuscripts or prints with Chambonnières's music. The catalog itself follows, listing the 153 known harpsichord works attributed to Chambonnières. Because chronology is frequently difficult to ascertain in these works, Gustafson's ordering is based on authority; he begins with sixty pieces in the order that [End Page 489] the composer himself determined for his two published collections (both printed in 1670) then moves to works that appear only in manuscripts, beginning with the most authoritative. Each catalog entry provides the "G" catalog number, standard generic title(s) for the piece, any applicable characteristic title, key, a "skeletal" melodic incipit from two to six measures long, numbers of measures in each strain, a list of known sources, and where applicable, any parodies and modern editions. The names of manuscript sources follow the usage introduced over the years by scholars and will be familiar to those who have worked in the field—these names are also explained in the later section called "Musical Sources." Gustafson refers to the remaining sections as "supplemental files." The three indexes enable the user to approach the works from a variety of...

Film Art Phenomena

Review Article| December 01 2006 Film Art Phenomena Film Art Phenomena By Nicky Hamlyn. London: BFI Publishing, 2003. $80.00 cloth; $28.95 paper. 256 pages.A Critical Cinema 4: Interviews with Independent Filmmakers By Scott MacDonald. Berkeley: University of California Press, 2005. $65.00 cloth; $29.95 paper. 399 pages. Maureen Turim Maureen Turim MAUREEN TURIM is Professor of English and Film and Media Studies at the University of Florida. She is the author of several books, including Abstraction in Avant-Garde Films (UMI Research Press, 1985), as well as over eighty articles. Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2006) 60 (2): 69–70. https://doi.org/10.1525/fq.2006.60.2.69.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Maureen Turim; Film Art Phenomena. Film Quarterly 1 December 2006; 60 (2): 69–70. doi: https://doi.org/10.1525/fq.2006.60.2.69.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. © 2006 by The Regents of the University of California. All rights reserved.2006 Article PDF first page preview Close Modal You do not currently have access to this content.

Mavericks and Other Traditions in American Music (review)

Mavericks and Other Traditions in American Music Catherine Pellegrino Mavericks and Other Traditions in American Music. By Michael Broyles . New Haven: Yale University Press, 2004.[ 387p.ISBN 0-300-10045-0. $40.00.]Music examples, illustrations, bibliography, index. Michael Broyles's history of mavericks in American music attempts to document a paradox: a tradition of tradition-defying musicians in America. To do this, Broyles calls upon his considerable narrative skills and his experience with social histories of music; he has previously written Music of the Highest Class: Elitism and Populism in Antebellum Boston (New Haven: Yale University Press, 1992), and edited the journals of Lowell Mason's year in Europe (A Yankee Musician in Europe: The 1837 Journals of Lowell Mason [Ann Arbor: UMI Research Press, 1990]). A brief introductory chapter sets out Broyles's focus and plan for the book: "this book is not about mavericks themselves; it is about the maverick tradition. It is about American society's long-standing fascination with the figure of the maverick, what that means about the place of music in American culture and what that tells us about American society" (p. 2, emphasis in original).After this introduction, Broyles sets out with a series of chapters that profile various American composers who, for one reason or another, have stood outside the musical mainstream of their times. Part 1 of the book, "Pioneers," contains chapters on William Billings and Anthony Philip Heinrich, both composers who often get short-changed in music histories, even histories of American music. The source materials used in these chapters are extremely valuable resources, and it is also useful to have brief, thoroughly-researched biographical portraits of these important early American musicians. Both of these chapters have a strong focus on the relationship of the composers to their communities, and the tensions that arose as a result of their insistence on following their own personal vision. Part 2 of the book, "New Concepts and Forces in American Culture," begins with a chapter on Charles Ives and Leo Ornstein, which resembles the two chapters on Billings and Heinrich. From there, however, the reader might be forgiven for wondering where the mavericks had gone, for in the next two chapters, Broyles takes a considerable detour. In order to set up the material on twentieth-century music in the second half of the book, he devotes a chapter (" 'Prologue to the Annual Tragedy' ") to demonstrating how isolated American music was from the modernist revolution happening in the other arts (both in Europe and America) in the first two decades of the twentieth century. The following chapter, "The Community of the Ultramoderns," returns to the mavericks, profiling Edgard Varèse, Carl Ruggles, Charles Seeger, and Henry Cowell briefly, but its real focus is on the development of self-organizing societies of musicians. Two such organizations, the International Composers' Guild and the League of Composers, the conflicts and tensions between them, and their effect on the American concert scene and the American public's acceptance of modern music in the 1920s, are the primary material of this chapter. After setting the scene in these two chapters, the third large section of the book, "After the War," returns to the topic of mavericks. This section includes a chapter on what Broyles terms "The Serial Wars," and the debate over who was more marginalized [End Page 754] in the post-war art music scene: composers who built on the serialist innovations of the first half of the century, or those who continued in the tonalist tradition of Copland, Samuel Barber, and others. Broyles casts the debate in terms of a "fight to claim the mantle of maverick" (p. 161), and although this is one of the few mentions of the concept of the maverick in this chapter, that concept is never very far from the surface, especially in the composers' competing claims of oppression. The next two chapters profile John Cage, Harry Partch, and Frank Zappa. By the time Broyles gets to Zappa, the trend that began in the serialists' chapter has become fully realized: composers want to be considered mavericks, and consciously style themselves in that image, as shown by Broyles's claim that Zappa...

Their Exits and Their Entrances: Getting a Handle on Doors

Aeschylus, father of Greek tragedy, was also the first to realize the potential of drama taking place ‘inside’ and ‘outside’ – a change from his earlier plays which is quite clear from the Oresteia onwards; and although the Elizabethan theatre was unconcerned with the literal representation of place, exits and entrances were no less crucial to its dramaturgy. Along with the proscenium arch came the stage doors actors fought hard to preserve until the nineteenth century, when first the box set and then the dominance of naturalism required doors to be literalized – as essential for slamming in Ibsen as for the complex avoidance strategies of a Feydeau farce. In the following article, Arnold Aronson discusses the role of the door, actual, assumed, and iconic, in world theatre – and takes a lateral look at its significance in the TV sitcom. The author is Professor of Theatre at Columbia University in New York, and author of American Avant-Garde Theatre: a History (Routledge, 2000), American Set Design (TCG, 1985), and The History and Theory of Environmental Scenography (UMI Research Press, 1981). Arnold Aronson served as President of the International Jury for the Prague Quadrennial in 1991 and 1999, and will be Commissioner General of the 2007 Quadrennial. A version of this essay was presented at Brown University at the conference held in 2003 in honour of Don B. Wilmeth.

The Literary Lorgnette: Attending Opera in Imperial Russia (review)

The Literary Lorgnette: Opera in Imperial Russia. By Julie A. Buckler. Stanford, CA: Stanford University Press, 2000. [vii, 294 p. ISBN 0-8047-3247-7. $45.] Illustrations, bibliography, index. Julie A. Buckler's The Literary Lorgnette: Opera in Imperial Russia is a valuable addition to our understanding of development of Russian culture during nineteenth century. The central thrust of her argument is that western opera-including its plots, characters, and performers-was an extremely important component of Russian culture far beyond confines of opera house. What has sometimes been seen as a zero-sum contest between western European and Russian homegrown culture is shown to be developmcnl of a triumphant Russian culture which incorporates both streams. Buckler's book succeeds in showing how that assimilation took place in area of opera as musical genre, literary topic, and social activity; she shows how opera in all its facets was experienced by audiences and incorporated into realist literature of nineteenth century. For music historians, this study is a worthy addition to that of Robert Ridenour, Nationalism, Modernism, and Personal Rivalry in Nineteenth-Century Russian Music (Ann Arbor: UMI Research Press, 1981) and more recent Ital'yanshchina chapter in Richard Taruskin's Defining Russia Musically (Princeton, NJ: Princeton University Press, 1997). Each of three studies addresses a different aspect of mid-nineteenth-century Russian musical culture, although some of Buckler's ideas can be seen in embryo in Taruskin's chapter. A fourth book, Murray Filme's The St. Petersburg Imperial Theaters: Stage and State in Revolutionary Russia 1900-1920 (Jefferson, NC: McFarland, 2000) while treating a later period, has a pertinent introduction, including historiography of Imperial Theater. In each of her seven chapters Buckler analyzes historical accounts of Russian social and cultural through techniques of literary criticism, including new historicism, feminist criticism, and semiotics. She takes on a formidable task and arrives at a valid overall picture. As always, though, devil is in details. In general, her application of techniques of literary criticism to Russian social and cultural landscape, still old regime during period under examination, does not take enough account of significant differences between Russia and bourgeois society of western Europe. Given that audience for this book is not likely to have much acquaintance with autocracy under Nicholas I, Alexander II and III, or with social struture of a society still comprised of a small elite and an enormous underclass, some of her phrases-for example the vast and inclusive space of cultural life (p. 1), ordinary citizens (p. 16), and middle classes (p. 44)-require mapping onto a social template that differs significantly from that of contemporaneous western Europe. The book makes somewhat mysterious society of Russia seem quite understandable, but this may be an illusion that should be dispelled or at least qualified. The chapter that will interest historians of theaters and audiences particularly is chapter 2, Attending Opera. Here Buckler begins with a concise account of choppy narrative of structures built, reconstructed, renamed, and consumed by fire (p. 17). But description of theaters and theater troupes of capital-the Bolshoi, Malyi, Aleksandrinskii, Mikhailovskii, and Mariinskii-useful as it is, does not satisfy desire for a clear longitudinal account of repertory, social custom, and class makeup of specific theaters, which changed greatly over century (as did Russian cities themselves). The author has included descriptions of opera performances and audiences in Moscow, St Petersburg, Kiev, and Odessa through eyes of memoirists, letter writers, and Soviet scholars (among them Zotov [1860], Losskii [latter part of nineteenth century], Skal'kovskii [1899], Grossman [1926], and Nikolaeva [1984], all cited in Buckler's bibliography). …

Sniff Art

June 01 2004 Sniff Art Jessica Chalmers, Jessica Chalmers Assistant Professor at the University of Notre Dame. She is currently working on a performance about the 1963 demise of the Studebaker Corporation, in conjunction with the Builders Association, scheduled to open in Fall 2004. Search for other works by this author on: This Site Google Scholar Una Chaudhuri Una Chaudhuri Professor of English and Drama at New York University. She is the author of No Man's Stage: A Semiotic Study of Jean Genet's Plays (UMI Research Press, 1986) and Staging Place: The Geography of Modern Drama (University of Michigan Press, 1995), editor of Rachel's Brain and Other Storms: The Performance Scripts of Rachel Rosenthal (Continuum, 2001), coeditor of Land/Scape/Theater (University of Michigan, 2002), and guest editor of a special issue of Yale's Theater magazine on “Theater and Ecology” (25:1, 1995). Search for other works by this author on: This Site Google Scholar Author and Article Information Jessica Chalmers Assistant Professor at the University of Notre Dame. She is currently working on a performance about the 1963 demise of the Studebaker Corporation, in conjunction with the Builders Association, scheduled to open in Fall 2004. Una Chaudhuri Professor of English and Drama at New York University. She is the author of No Man's Stage: A Semiotic Study of Jean Genet's Plays (UMI Research Press, 1986) and Staging Place: The Geography of Modern Drama (University of Michigan Press, 1995), editor of Rachel's Brain and Other Storms: The Performance Scripts of Rachel Rosenthal (Continuum, 2001), coeditor of Land/Scape/Theater (University of Michigan, 2002), and guest editor of a special issue of Yale's Theater magazine on “Theater and Ecology” (25:1, 1995). Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2004 Massachusetts Institute of Technology2004 TDR/The Drama Review (2004) 48 (2 (182)): 76–80. https://doi.org/10.1162/dram.2004.48.2.76 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Jessica Chalmers, Una Chaudhuri; Sniff Art. TDR/The Drama Review 2004; 48: 2 (182), 76–80. doi: https://doi.org/10.1162/dram.2004.48.2.76 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. © 2004 Massachusetts Institute of Technology2004 Article PDF first page preview Close Modal You do not currently have access to this content.

Aesthetics of Opera in the Ancien Regime, 1647-1785 (review)

Aesthetics of Opera in the Ancien Régime, 1647-1785. By Downing A. Thomas. (Cambridge Studies in Opera.) Cambridge; New York: Cambridge University Press, 2002. [vii, 411 p. ISBN 0-521-80188-5. $70.] Music examples, illustrations, bibliography, index.

Regime Change: King Lear in Los Angeles, George Bush in Iraq, Americans in France

March 01 2004 Regime Change: King Lear in Los Angeles, George Bush in Iraq, Americans in France Una Chaudhuri Una Chaudhuri Professor of English and Drama at New York University. She is the author of No Man's Stage: A Semiotic Study of Jean Genet's Plays (UMI Research Press, 1986) and Staging Place: The Geography of Modern Drama (University of Michigan Press, 1985), editor of Rachel's Brain and Other Storms: The Performance Scripts of Rachel Rosenthal (Continuum, 2001), coeditor of Land/Scape/Theater (University of Michigan, 2002), and guest editor of a special issue of Yale's Theater magazine on “Theater and Ecology” (25:1, 1995). Search for other works by this author on: This Site Google Scholar Author and Article Information Una Chaudhuri Professor of English and Drama at New York University. She is the author of No Man's Stage: A Semiotic Study of Jean Genet's Plays (UMI Research Press, 1986) and Staging Place: The Geography of Modern Drama (University of Michigan Press, 1985), editor of Rachel's Brain and Other Storms: The Performance Scripts of Rachel Rosenthal (Continuum, 2001), coeditor of Land/Scape/Theater (University of Michigan, 2002), and guest editor of a special issue of Yale's Theater magazine on “Theater and Ecology” (25:1, 1995). Online Issn: 1531-4715 Print Issn: 1054-2043 © 2004 New York University and the Massachusetts Institute of Technology2004 TDR/The Drama Review (2004) 48 (1 (181)): 86–94. https://doi.org/10.1162/105420404772990691 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Una Chaudhuri; Regime Change: King Lear in Los Angeles, George Bush in Iraq, Americans in France. TDR/The Drama Review 2004; 48: 1 (181), 86–94. doi: https://doi.org/10.1162/105420404772990691 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. © 2004 New York University and the Massachusetts Institute of Technology2004 Article PDF first page preview Close Modal You do not currently have access to this content.

Marina Abramović's Performance: Stresses on the Body and Psyche in Installation Art

Maureen Turim is professor of English and film studies at the University of Florida. She is author of Abstraction in Avant-Garde Films (Ann Arbor: UMI Research Press, 1985), Flashbacks in Film: Memory and History (New York: Routledge, 1989), and The Films of Oshima Nagisa: Images of a Japanese Iconoclast (Berkeley: University of California Press, 1998). She has also published over seventy essays in anthologies and journals on a wide range of theoretical, historical, and aesthetic issues in cinema and video, art, cultural studies, feminist and psychoanalytic theory, and comparative literature. Several of these essays have appeared in translation in French and German. She has also written catalog essays for museum exhibitions. Her new book project, “Desire and Its Ends: The Driving Forces of Recent Cinema, Literature, and Art,” will look at the different ways desire structures narratives and images in various cultural traditions, and the way our very notion of desire may be shaped by these representations.

Vasily Titov and the Russian Baroque: Selected Choral Works

Vasily Titov and the Russian Baroque: Selected Choral Works. Transcribed and edited by Olga Dolskaya. (Monuments of Russian Sacred Music, ser. XIII, 2.) Madison, Conn.: Musica Russica, 1995. [From the gen. ed., acknowledgments, introd. in Rus., Eng., p. xi-xxix; ill., 5 p.; score, 186 p.; appendixes (Titov: The Great Many Years; crit. notes; select bibliog. on music of the Russian Baroque; the Russica transliteration system), p. 189-203. Cloth. ISBN 0-96294660-3-6. $49.00.] Olga Dolskaya's edition of vocal works by the late seventeenth-century Russian composer Polikarpovich Titov (ca. 1650-ca. 1715) is the first in a series of historical editions offered by Musica Russica in its series Monuments of Russian Sacred Music. (The next issue in the historical series will cover Dmitrii Stepanovich Bortnianskii's sacred concertos for single choir, and further volumes will range in focus from chant to concertos by Maksym Berezovs'kyi and Stepan Anikievich Degtiarev.) Although Dolskaya's work fits seamlessly with Musica Russica's debut anthology, One Thousand Years of Russian Church Music (ed. Vladimir Morosan, [1991]), her work stands on its own, offering a provocative glimpse into a little-known repertory now published in a format accessible both to the specialist and to the general user. Indeed, one of the hallmarks of the Musica Russica series is the obvious desire of all concerned to make this music accessible; all of the pieces are available in single offprints, modestly priced, ready and waiting For diverse choral groups to bring before an audience. Titov was one of the most important composers of kontserty in the late seventeenth and early eighteenth centuries. Kontserty are settings of primarily sacred or liturgical texts for various a cappella groupings, most often four-, five-, eight-, and twelve-part choirs, although a few more massive settings exist as well. Dolskaya certainly selected Titov because he was the most talented representative of the genre but, as she points out, he was only one of many Russian and Ukrainian composers who wrote kontserty. In a related article, Vasilii Titov and the 'Moscow' Baroque, Journal of the Royal Musical Association 118 [1993]; 203-22), Dolskaya notes that there are at least fifty known composers of the genre dating as early as the middle of the seventeenth century, and in Russian and Ukrainian archives there are literally stacks of kontsert manuscripts, mostly anonymous and unexamined. The style of these works, as the borrowed term kontsert suggests, represents a complex musical and cultural synthesis of Russian liturgical vocal tradition with Western harmonic language. Dolskaya's discussion of Titov's works makes it clear, however, that there is more to the style than synthesis; the works use specific, selected elements of Western practice, refracted through the powerful lens of Orthodox liturgical tradition. Thus, for example, Dolskaya emphasizes the linear, text-dominated approach taken by Titov and other Russian composers of kontserty, an approach that might easily be overwhelmed in modern performances by the seemingly familiar tonal language. Similarly, she describes the process of variantnost', or variation, in which melodic ideas are linked by continual and subtle alterations, a fundamental element of the kontsert style that is important in both Russian chant and folk polyphony as well. Dolskaya suggests that, in addition to recognizing the stylistic importance of variantnost', the approach may also tell us something about performance practice. She notes that the tightly interwoven vocal parts make it unlikely that the singers were spatially separated in performance. In other words, no Venetian-style cori spezzati in Muscovy. The sparse iconographical evidence tends to confirm this point. One of the few depictions of Muscovite singers shows a cluster of about a dozen men and boys performing together from separate partbooks, reproduced in Vladimir Morosan, Choral Performance in Pre-Revolutionary Russia, Russian Music Studies, 17 (Ann Arbor: UMI Research Press, 1986: reprint, rev. …

History, Power, Ideology: Central Issues in Marxism and Anthropology (review)

294 Book Reviews Note 1. See, for example, Paul B. Henze, The Horn of Africa: From War to Peace (New York: St. Martin's Press, 1991); David A. Korn, Ethiopia, The United States, and the Soviet Union (London: Croom Helm, 1986); Marina Ottaway, Soviet and American Influence in the Horn ofAfrica (New York: Praeger, 1982); and Bruce D. Porter, The USSR in Third World Conflicts: Soviet Arms and Diplomacy in Local Wars, 1945-1980 (Cambridge: Cambridge University Press, 1984). History, Power, Ideology: Central Issues in Marxism and Anthropology Donald L. Donham Cambridge: Cambridge University Press/Editions de Ia Maison des Sciences de l'Homme, Cambridge/Paris, 1990. 242 pp. Rarely could so much intellectual brilliance and meticulous scholarship have been expended to such stultifying effect as in the debates of the 1970s about the "relevance" of Marxism to the analysis of "noncapitalist social formations." The trouble lay in what the debate took for granted: the validity of the capitalist/noncapitalist dichotomy. This, of course, was just one of many versions of the "us and them" categorization of the world on which anthropology was founded. It is only now beginning to confront this problem as it attempts to overcome "otherness "—the tendency to define "them" as residual to "us"—while preserving difference. In this book, Donham has attempted a truly anthropological critique of Marxism, with the aim of constructing a relevant and defensible historical materialism. His critique consists, essentially, in showing that Marxism has been encumbered with the concepts and categories of the very capitalist system which it has sought to demystify. Such a task requires comparison; it requires gaining a perspective on capitalism (and, therefore, Marxism) from a safe distance. Donham finds this distance in his ethnographic study of Boia, a settlement of 500-odd households in Maale, southwestern Ethiopia, which he has already reported on in his book Work and Power in Maale, Ethiopia (UMI Research Press, 1985). Book Reviews 195 He begins, in Chapter 1 (which first appeared in Man, 1981, pp. 515-41, under the title "Beyond the Domestic Mode of Production") by gaining a perspective on neoclassical models, applying Chayanov's dependency ratio theory and Sahlins's revision of it (still, according to Donham, essentially neoclassical) to household production in Bola. While neither theory accounts for the observed facts, they do lead to a "more rigorous and fine-grained analysis" (p. 46) which in turn reveals the general limits of neoclassicism: its "helplessness before histOTy" and its "lack of analysis of domination" (p. 48). This is where a historical materialist model is needed, but it cannot simply be found, or unearthed , in the works of Marx; it has to be constructed "not only from Marx's works but from those of his critics" (p. 51). This is attempted in Chapter 2, a beautifully clear exposition of recent discussions in Marxist theory, focusing particularly on how inequalities in relation to production ("productive inequalities" in Donham 's terminology) are regularly reproduced, and on what we should understand when it is stated that productive inequalities "determine" the superstructure ("reproductive schemata"). Donham follows G. A. Cohen's functional reading of determination—a certain set of productive inequalities select a certain set of reproductive schemata because they are consistent with (i.e., have positive consequences for) that particular set of inequalities. In this sense, the superstructure helps to explain the continuance of productive inequalities as weU as being explained by them. Of course, there are always functional alternatives to any particular set of reproductive schemata; one can only examine what did happen at a particular place and time, not what had to happen (p. 136). Thus Donham is led back, in Chapters 3 and 4, to Bola. Chapter 3 is an attempt to use Marxist theory to reveal the processes that reproduce household inequalities over time. The key concept here is fertility: Whereas in reality the success of men and women in accumulating wealth and in bearing children depended on their own productive and procreative powers, the way that labour was organised in Maale made it appear as if that success depended on other people's fertility: that of the king and chiefs in the first place, that of de- 196...

Eurydice Reclaimed: Language, Gender & Voice in Henry James (review)

330 The Henry James Review those novels. (Woolf used the Literary Classics of America texts for The Europeans, Washington Square and The Bostonians.) Greg W. Zacharias Creighton University Lynda S. Boren. Eurydice Reclaimed: Language, Gender & Voice in Henry James. Ann Arbor: UMI Research Press, 1989.145 pp. $39.95 In a polyphonic, suggestive prose of her own, Lynda S. Boren sets forth to analyze that rich and poetic discourse which is the literary language of Henry James. It is her thesis that James's prose has musical components that connect with profound psychological and gender issues and express more than mere language, even in the intricate syntax of James, can. Indeed, Boren shows, the "voice" that emerges in the lyricism of his narratives may reflect, in intricate and fascinating ways, the submerged feminine Other, the Eurydice, of Henry James. James's prose is a performance, no question, and, delivered orally as it was by midMaisie , it is a performance on an operatic scale, with James as impresario of a mode of dialogue and subversion that, as Boren shows, replaces the conventional linearity of novelistic structure with a poetic, musical mode. Using the insights of Bakhtin, Lacan, and Julia Kristeva as well as French philosophers, and of Freud, Jung, and music theory, Boren investigates the implications of this peculiar poetic, weaving in the process her own allusive and delicate web of analysis. James's famous "indecipherability" stems in part from the "psychosexual" nature of his performance, Boren says, where meaning is so tightly bound to ' 'internal images of ... thought" "as to remain forever esoteric." Even the cadences of his fiction become meaningful in this view, having a psychological resonance and coalescing into an affective kind of poetic measure. Further, Boren says, citing James Guetti's Word-Music, a visual image repeated over and over again, in the manner of James, can become aural, so that we begin to hear it rather than see it. Thus its tenor is now transformed or denied into something else, music perhaps. As his readers well know, James makes use of sound (and its absence) directly and "strategically for dramatic purposes," as in Charlotte's silent scream at the end of The Golden Bowl or "the scarce audible pathetic wail" of Spencer Brydon's alter ego in "The Jolly Corner." These "preverbal" experiences are profoundly symbolic, iconic like music, and like music, untranslatable unless in the private language of the psyche. "Language must ultimately go back to that underworld of the unconscious," Boren reminds us, quoting Lacan, "where something other demands to be realized,' ' and language is born of lack and desire for what is absent, "the eternal search for the lost Eurydice." The "implications for gender identification" within Lacan's theory are "startling," Boren says, positing James's "eternal search for the lost Eurydice" as a psychic identification with the feminine and his novels as an Orphic search to reclaim her. Within this context, James's own authorial voice orchestrates a Bakhtinian dialogic, embedding voices that often conflict with or subvert his own and which he struggles to unify by "transforming the 'speech' into pure music." This "musical mode of discourse," Boren claims, is complexly entwined in James's late style with his aesthetics, his private sexual anxieties, and the relations of society and gender to language. Indeed, she says, the innovations and "the tensions of James's novelistic form derive from his attempt to make his style bear the burden of music and meaning simultaneously." Book Reviews 331 I am quoting Boren extensively because her argument is extremely subtle and interwoven—"You can't skip a word," as William complained to Henry about his style—and I am trying not to inflict the injustice of paraphrase on it. Moreover, her style of literary criticism offers in its unique weave, it seems to me, a very good example of a new form of literary criticism. This is one that is evolving on a fugal, dialogic structure as opposed—to continue the analogy with music—to the canon form in which a melody is imitated exactly and completely by successive entering voices. I would not hesitate to call Boren's argument a prime example of the way...

'Exchange Economies': A Review Essay of A "Brand" New Language, The Rule of Money, and Doing Literary Business

Monroe Friedman. A "Brand" New Language: Commercial Influences in Literature and Culture. New York: Greenwood Press, 1991. Peggy MeCormack. The Rule of Money: Gender; Class, and Exchange Economics in the Fiction of Henry James. Ann Arbor: UMI Research Press, 1990. Susan Coultrap-McQuin. Doing Literary Business: American Women Writers in the Nineteenth Century. Chapel Hill: University of North Carolina Press, 1990. Each of these three books, in one way or another, addresses the topic of capitalism and its effects on American culture. All three are concerned, at least in part, with economics in the literary world. Here, the similarities between the three cease. In both approach and content, A "Brand" New Language (BNL) is a sociological study of advertising in literature and in culture. It is gender neutral whereas the other two studies are feminist. The Rule of Money (RM) is literary criticism: it is, to borrow McCormack's own terminology, a study of "exchange economics," this time, the business or exchange economics of five American women writers working in the nine- teenth century.

The household in anthropology: Panacea or problem?

Maclachlan, Morgan D. Editor. Household Economies and Their Transformations. Monographs in Economic Anthropology, No. 3. Lanham, Maryland: University Press of America. 1987. 227 pp. including references. $25.00 cloth, $12.75 paper. Imamura, Anne E. Urban Japanese Housewives: At Home and in the Community. Honolulu: University of Hawaii Press. 1987. x + 191 pp. including appendix, references, and index. $18.00 cloth. Fricke, Thomas E. Himalayan Households: Tamang Demography and Domestic Processes. Ann Arbor, Michigan: UMI Research Press. 1986. xiv + 227 pp. including appendices, references, and index. $49.95 cloth.

Ambiguity, ambivalence, and antagonism: Gender in the New Guinea highlands and rural Greece

Dubisch, Jill, ed. Gender and Power in Rural Greece. Princeton: Princeton University Press, 1986. xiii + 258 pp. including photographs, map, references and index. $9.95 paper, $40.00 cloth. Gelber, Marilyn G. Gender and Society in the New Guinea Highlands: An Anthropological Perspective on Antagonism toward Women. Boulder: Westview Press, 1986. xi + 180 pp. including photographs, bibliography, and index. $17.50 paper. Sexton, Lorraine. Mothers of Money, Daughters of Coffee: The Wok Meri Movement. Ann Arbor: UMI Research Press, 1986. xvi + 179 pp. including appendices, notes, maps, bibliography, and index. $59.95 cloth.