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Affiche du document Communism's Public Sphere — Communism's Public Sphere
Kyrill Kunakhovich
2h36min00
Littérature & Beaux Arts
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208 pages. Temps de lecture estimé 2h36min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Communism's Public Sphere
Kyrill Kunakhovich
2h36min00
Littérature & Beaux Arts
Youscribe plus
208 pages. Temps de lecture estimé 2h36min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Accès libre

Affiche du document Communism's Public Sphere — Communism's Public Sphere
Kyrill Kunakhovich
4h25min30
Littérature & Beaux Arts
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354 pages. Temps de lecture estimé 4h25min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Communism's Public Sphere
Kyrill Kunakhovich
4h25min30
Littérature & Beaux Arts
Youscribe plus
354 pages. Temps de lecture estimé 4h25min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Accès libre

Affiche du document Hollywood Jim Crow — Hollywood Jim Crow
Maryann Erigha
1h33min00
Photographie
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124 pages. Temps de lecture estimé 1h33min.
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

Hollywood Jim Crow
Maryann Erigha
1h33min00
Photographie
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124 pages. Temps de lecture estimé 1h33min.
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

Accès libre

Affiche du document Stalin's Final Films — Stalin's Final Films
Claire Knight
3h27min00
Cinéma
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276 pages. Temps de lecture estimé 3h27min.
Stalin''s Final Films explores a neglected period in the history of Soviet cinema, breathing new life into a body of films long considered moribund as the pinnacle of Stalinism. While film censorship reached its apogee in this period and fewer films were made, film attendance also peaked as Soviet audiences voted with their seats and distinguished a clearly popular postwar cinema. Claire Knight examines the tensions between official ideology and audience engagement, and between education and entertainment, inherent in these popular films, as well as the financial considerations that shaped and constrained them. She explores how the Soviet regime used films to address the major challenges faced by the USSR after the Great Patriotic War (World War II), showing how war dramas, spy thrillers, Stalin epics, and rural comedies alike were mobilized to consolidate an official narrative of the war, reestablish Stalinist orthodoxy, and dramatize the rebuilding of socialist society. Yet, Knight also highlights how these same films were used by filmmakers more experimentally, exploring a diverse range of responses to the ideological crisis that lay at the heart of Soviet postwar culture, as a victorious people were denied the fruits of their sacrificial labor. After the war, new heroes were demanded by both the regime and Soviet audiences, and filmmakers sought to provide them, with at times surprising results. Stalin''s Final Films mines Soviet cinema as an invaluable resource for understanding the unique character of postwar Stalinism and the cinema of the most repressive era in Soviet history.

Stalin's Final Films
Claire Knight
3h27min00
Cinéma
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276 pages. Temps de lecture estimé 3h27min.
Stalin''s Final Films explores a neglected period in the history of Soviet cinema, breathing new life into a body of films long considered moribund as the pinnacle of Stalinism. While film censorship reached its apogee in this period and fewer films were made, film attendance also peaked as Soviet audiences voted with their seats and distinguished a clearly popular postwar cinema. Claire Knight examines the tensions between official ideology and audience engagement, and between education and entertainment, inherent in these popular films, as well as the financial considerations that shaped and constrained them. She explores how the Soviet regime used films to address the major challenges faced by the USSR after the Great Patriotic War (World War II), showing how war dramas, spy thrillers, Stalin epics, and rural comedies alike were mobilized to consolidate an official narrative of the war, reestablish Stalinist orthodoxy, and dramatize the rebuilding of socialist society. Yet, Knight also highlights how these same films were used by filmmakers more experimentally, exploring a diverse range of responses to the ideological crisis that lay at the heart of Soviet postwar culture, as a victorious people were denied the fruits of their sacrificial labor. After the war, new heroes were demanded by both the regime and Soviet audiences, and filmmakers sought to provide them, with at times surprising results. Stalin''s Final Films mines Soviet cinema as an invaluable resource for understanding the unique character of postwar Stalinism and the cinema of the most repressive era in Soviet history.

Accès libre

Affiche du document To the Collector Belong the Spoils — To the Collector Belong the Spoils
Annie Pfeifer
2h06min00
Littérature & Beaux Arts
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168 pages. Temps de lecture estimé 2h06min.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James''s paper hoarding to Einstein''s mania for African art and Benjamin''s obsession with old Russian toys, she shows how these authors'' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future.Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement''s artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting''s long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.

To the Collector Belong the Spoils
Annie Pfeifer
2h06min00
Littérature & Beaux Arts
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168 pages. Temps de lecture estimé 2h06min.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James''s paper hoarding to Einstein''s mania for African art and Benjamin''s obsession with old Russian toys, she shows how these authors'' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future.Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement''s artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting''s long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.

Accès libre

Affiche du document To the Collector Belong the Spoils — To the Collector Belong the Spoils
Annie Pfeifer
4h33min00
Littérature & Beaux Arts
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364 pages. Temps de lecture estimé 4h33min.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James''s paper hoarding to Einstein''s mania for African art and Benjamin''s obsession with old Russian toys, she shows how these authors'' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future.Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement''s artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting''s long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.

To the Collector Belong the Spoils
Annie Pfeifer
4h33min00
Littérature & Beaux Arts
Youscribe plus
364 pages. Temps de lecture estimé 4h33min.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James''s paper hoarding to Einstein''s mania for African art and Benjamin''s obsession with old Russian toys, she shows how these authors'' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future.Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement''s artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting''s long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.

Accès libre

Affiche du document Antosha and Levitasha — Antosha and Levitasha
Serge Gregory
3h15min45
Littérature & Beaux Arts
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261 pages. Temps de lecture estimé 3h16min.
"Through meticulous scholarship and fine writerly craft, Gregory offers a riveting story of two creative geniuses at work."â• Slavonic and East European JournalAccessible and engaging, Antosha and Levitasha will appeal to scholars and general readers interested in art history, late nineteenth-century Russian culture, and biographies.Antosha and Levitasha is the first book in English devoted to the complex relationship between Anton Chekhov and Isaac Levitan, one of Russia''s greatest landscape painters. Outside of Russia, a general lack of familiarity with Levitan''s life and art has undermined an appreciation of the cultural significance of his friendship with Chekhov. Serge Gregory''s highly readable study attempts to fill that gap for Western readers by examining a friendship that may have vacillated between periods of affection and animosity, but always reflected an unwavering shared aesthetic.In Russia, where entire rooms of galleries in Moscow and St. Petersburg are devoted to Levitan''s paintings, the lives of the famous writer and the equally famous artist have long been tied together. To those familiar with the work of both men, it is evident that Levitan''s "landscapes of mood" have much in common with the way that Chekhov''s characters perceive nature as a reflection of their emotional state. Gregory focuses on three overarching themes: the artists'' similar approach to depicting landscape; their romantic and social rivalries within their circle of friends, which included many of Moscow''s leading cultural figures; and the influence of Levitan''s personal life on Chekhov''s stories and plays. He emphasizes the facts of Levitan''s life and his place in late nineteenth-century Russian art, particularly with respect to his dual loyalties to the competing Itinerant and World of Art movements.

Antosha and Levitasha
Serge Gregory
3h15min45
Littérature & Beaux Arts
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261 pages. Temps de lecture estimé 3h16min.
"Through meticulous scholarship and fine writerly craft, Gregory offers a riveting story of two creative geniuses at work."â• Slavonic and East European JournalAccessible and engaging, Antosha and Levitasha will appeal to scholars and general readers interested in art history, late nineteenth-century Russian culture, and biographies.Antosha and Levitasha is the first book in English devoted to the complex relationship between Anton Chekhov and Isaac Levitan, one of Russia''s greatest landscape painters. Outside of Russia, a general lack of familiarity with Levitan''s life and art has undermined an appreciation of the cultural significance of his friendship with Chekhov. Serge Gregory''s highly readable study attempts to fill that gap for Western readers by examining a friendship that may have vacillated between periods of affection and animosity, but always reflected an unwavering shared aesthetic.In Russia, where entire rooms of galleries in Moscow and St. Petersburg are devoted to Levitan''s paintings, the lives of the famous writer and the equally famous artist have long been tied together. To those familiar with the work of both men, it is evident that Levitan''s "landscapes of mood" have much in common with the way that Chekhov''s characters perceive nature as a reflection of their emotional state. Gregory focuses on three overarching themes: the artists'' similar approach to depicting landscape; their romantic and social rivalries within their circle of friends, which included many of Moscow''s leading cultural figures; and the influence of Levitan''s personal life on Chekhov''s stories and plays. He emphasizes the facts of Levitan''s life and his place in late nineteenth-century Russian art, particularly with respect to his dual loyalties to the competing Itinerant and World of Art movements.

Accès libre

Affiche du document DUA LIPA: The Unauthorized Biography — DUA LIPA: The Unauthorized Biography
Caroline Sullivan
7h24min45
Littérature & Beaux Arts
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Livres audio
593 pages. Temps de lecture estimé 7h25min.
Get ready to break the rules and uncover a side of Dua Lipa you've never heard of. It's time to levitate into the real world of one of the most beloved pop phenomenons to date. From humble beginnings in London to ruling the global pop scene, how did she rise so meteorically to fame? With unparalleled talent and unapologetic boldness, Dua Lipa has become an icon for a generation."DUA LIPA: The Unauthorized Biography" explores the depths of her character and the whirlwind of her career to uncover what has shaped one of the most influential voices in modern music.Caroline Sullivan is a New York-born music journalist who has written for the Guardian, The Times, Time Out and many other prominent publications. Starting her career with Melody Maker, Sullivan became the Guardian's Chief Rock Critic. Throughout her career, she has interviewed some of the biggest names in music, including Lady Gaga, Radiohead and Adele.

DUA LIPA: The Unauthorized Biography
Caroline Sullivan
7h24min45
Littérature & Beaux Arts
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Livres audio
593 pages. Temps de lecture estimé 7h25min.
Get ready to break the rules and uncover a side of Dua Lipa you've never heard of. It's time to levitate into the real world of one of the most beloved pop phenomenons to date. From humble beginnings in London to ruling the global pop scene, how did she rise so meteorically to fame? With unparalleled talent and unapologetic boldness, Dua Lipa has become an icon for a generation."DUA LIPA: The Unauthorized Biography" explores the depths of her character and the whirlwind of her career to uncover what has shaped one of the most influential voices in modern music.Caroline Sullivan is a New York-born music journalist who has written for the Guardian, The Times, Time Out and many other prominent publications. Starting her career with Melody Maker, Sullivan became the Guardian's Chief Rock Critic. Throughout her career, she has interviewed some of the biggest names in music, including Lady Gaga, Radiohead and Adele.

Accès libre

Affiche du document Jean Delannoy au prisme du genre — Jean Delannoy au prisme du genre
Pascal Noblet
1h27min45
Cinéma
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117 pages. Temps de lecture estimé 1h28min.
Jean Delannoy fut un des cinéastes français les plus importants durant l’Occupation (Pontcarral, L’Eternel Retour) et les années d’après-guerre (La Symphonie pastorale, Aux yeux du souvenir, Le Garçon sauvage). Malheureusement, sa réputation artistique a été injustement ternie par les attaques dont il fit l’objet par la suite de la part des cinéastes de la Nouvelle Vague. Pourtant, dans les années d’après-guerre, le cinéma de Delannoy brille par son originalité. Delannoy ne fait pas partie du « réalisme noir » (Yves Allégret, Claude Autant-Lara, Henri-Georges Clouzot, Julien Duvivier…) qui est un courant cinématographique fortement teinté de misogynie. Ses plus belles réalisations font au contraire la part belle à des « hommes doux » et à des portraits de femmes à la personnalité forte et lumineuse.La brise féministe qui flotte actuellement sur le cinéma français, devrait permettre la redécouverte d’une œuvre où les relations entre les femmes et les hommes sont travaillées par l’aspiration à davantage d’égalité.

Accès libre

Affiche du document L’univers sonore de François Mauriac — L’univers sonore de François Mauriac
Arot Dominique
4h02min15
Musique
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323 pages. Temps de lecture estimé 4h02min.
Écrivain majeur du XXe siècle, engagé dans les débats intellectuels, politiques et religieux de son époque, François Mauriac doit sa réputation, en grande partie, à son œuvre de romancier et à ses très nombreux articles de presse. Mais à travers cette très abondante production, de manière plus surprenante, s’esquisse aussi le profil d’un écrivain constamment à l’écoute de la musique, de la nature qui l’environne et des diverses modalités de la voix. En effet, Mauriac, tout en se revendiquant volontiers comme un « illettré de la musique », n’a cessé de traduire par l’écrit ses sensations d’auditeur. Du Don Giovanni de Mozart à une chanson de Juliette Gréco, du chant des oiseaux de la campagne aquitaine à la voix de ses proches et de ses contemporains, il a édifié au fil de tous ses écrits une véritable « symphonie singulière ». Dans une approche rarement tentée, ce livre s’efforce donc de mettre en évidence l’univers sonore d’un des écrivains majeurs du XXe siècle.

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Affiche du document Singing Like Germans — Singing Like Germans
Kira Thurman
2h51min45
Musique
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229 pages. Temps de lecture estimé 2h52min.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public''s understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.

Singing Like Germans
Kira Thurman
2h51min45
Musique
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229 pages. Temps de lecture estimé 2h52min.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public''s understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.

Accès libre

Affiche du document Singing Like Germans — Singing Like Germans
Kira Thurman
4h36min00
Musique
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368 pages. Temps de lecture estimé 4h36min.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public''s understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.

Singing Like Germans
Kira Thurman
4h36min00
Musique
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368 pages. Temps de lecture estimé 4h36min.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public''s understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.

Accès libre

Affiche du document Musique traditionnelle pour accordéon diatonique : Philippe Bruneau — Musique traditionnelle pour accordéon diatonique : Philippe Bruneau
Carmelle Bégin
2h04min30
Musique
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166 pages. Temps de lecture estimé 2h04min.
Philippe Bruneau est un interprète exceptionnel de musique traditionnelle pour accordéon diatonique, principalement d’origine canadienne-française et liée à la danse. Cette étude présente quatre-vingt-cinq pièces de son répertoire dont dix-sept sont ses propres compositions. La contribution de Philippe Bruneau à la musique traditionnelle est exposée dans les transcriptions musicales qui présentent les éléments nécessaires à la définition de son style propre. Publié en français

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Affiche du document Paradis du monde : L'art populaire du Québec — Paradis du monde : L'art populaire du Québec
Pascale Galipeau
3h01min30
Littérature & Beaux Arts
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242 pages. Temps de lecture estimé 3h01min.
Ce livre offre un regard sérieux et souvent humoristique sur un important mouvement artistique québécois et sur les personnes qui collectionnent l’art populaire. Toutes les œuvres qui y figurent proviennent des collections du Musée canadien des civilisations. Le livre examine les tendances, les styles et l’originalité des œuvres, les sources d’inspiration des artistes et la façon dont sont constituées les collections de ce type du Musée. Publié en français

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Affiche du document Vestiges de l'indiscipline : Environnements d'art et anarchitectures — Vestiges de l'indiscipline : Environnements d'art et anarchitectures
Valérie Rousseau
2h36min45
Littérature & Beaux Arts
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209 pages. Temps de lecture estimé 2h37min.
Associés à l’art populaire ou à l’art indiscipliné, les environnements d’art jalonnent le paysage québécois et on les découvre au hasard des routes. Entrez dans l'univers des artistes, artisans ou patenteux qui ont créé ces œuvres et laissé ces vibrants témoignages, et dont certains sont très connus. Publié en français

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Affiche du document Dit des signes : Répertoire de signes graphiques dans les cultures et les arts africains — Dit des signes : Répertoire de signes graphiques dans les cultures et les arts africains
C. Faïk-Nzuji Madiya
2h45min45
Littérature & Beaux Arts
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221 pages. Temps de lecture estimé 2h46min.
Ce livre contribue à notre connaissance et à notre compréhension des objets religieux africains et ouvre de nouvelles voies pour la recherche dans le domaine de l’art africain. Les artistes eux-mêmes, africains et non-africains, trouveront l’inspiration dans l’union de la beauté et du sens présentés dans ces signes. Également, les personnes qui travaillent dans les domaines de la sémantique et de la sémiologie pourront puiser dans les domaines conceptuels constitués par les signes qui parlent d’une vision du monde unique aux peuples africains et des principes universels que cette vision regroupe de multiples façons. Publié en français

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Affiche du document Solidarité fraternelle et réussite sociale — Solidarité fraternelle et réussite sociale
3h36min00
Architecture et design
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288 pages. Temps de lecture estimé 3h36min.
Si les frères et sœurs Dubois et Goblot, originaires de Pont-Audemer, s'écrivent si souvent, c'est pour s'aider à réussir puis à faire réussir leurs enfants. Car, à leurs yeux, hommes et femmes, doivent parvenir à une position. Or l'argent manque à ces fonctionnaires de province pour faire donner des leçons ou pour offrir à leurs enfants des études dans une grande ville. D'un côté, ils s'épaulent financièrement, et celui qui a des relations les mobilise pour faire promouvoir celui qui en a moins. Mais avant tout, ils partagent, par correspondance, leur savoir. L'ingénieur des mines adresse des leçons de mathématiques et des conseils technologiques à son beau-frère autodidacte. La tante directrice de pensionnat reprend mot par mot l'orthographe de sa nièce, le frère futur Normalien écrit à ses sœurs pour les persuader de la supériorité du Cid sur Hernani etc. Quand on réunit ses ressources, écrit en effet une des protagonistes, quand on agit dans le même but, quand on veut le succès de tous, on réussit toujours.

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Affiche du document Practice of Theory — Practice of Theory
Keith Moxey
2h09min00
Littérature & Beaux Arts
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172 pages. Temps de lecture estimé 2h09min.
Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves."After exploring how the insights offered by deconstruction and semiotics change our understanding of representation, ideology, and authorship, Moxey himself puts theory into practice. In a series of engaging essays accompanied by twenty-eight illustrations, he first examines the impact of cultural values on Erwin Panofsky''s writings. Taking a fresh look at work by artists from Albrecht Dürer and Erhard Schön to Barbara Kruger and Julian Schnabel, he then examines the process by which he generic boundaries between "high" and "low" art have helped to sustain class and gender differences. Making particular reference to the literature on Martin Schongauer, Moxey also considers the value of art history when it is reduced to artist''s biography. Moxey''s interpretation of the work of Hieronymus Bosch not only reassesses its intelligence and imagination, but also brings to light its pragmatic conformity to elite definitions of artistic "genius." With his compelling analysis of the politics of interpretation, Moxey draws attention to a vital aspect of the cultural importance of history.

Practice of Theory
Keith Moxey
2h09min00
Littérature & Beaux Arts
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172 pages. Temps de lecture estimé 2h09min.
Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves."After exploring how the insights offered by deconstruction and semiotics change our understanding of representation, ideology, and authorship, Moxey himself puts theory into practice. In a series of engaging essays accompanied by twenty-eight illustrations, he first examines the impact of cultural values on Erwin Panofsky''s writings. Taking a fresh look at work by artists from Albrecht Dürer and Erhard Schön to Barbara Kruger and Julian Schnabel, he then examines the process by which he generic boundaries between "high" and "low" art have helped to sustain class and gender differences. Making particular reference to the literature on Martin Schongauer, Moxey also considers the value of art history when it is reduced to artist''s biography. Moxey''s interpretation of the work of Hieronymus Bosch not only reassesses its intelligence and imagination, but also brings to light its pragmatic conformity to elite definitions of artistic "genius." With his compelling analysis of the politics of interpretation, Moxey draws attention to a vital aspect of the cultural importance of history.

Accès libre

Affiche du document The Emirates Code — The Emirates Code
Birgit Maria Kemphues
42min45
Littérature & Beaux Arts
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Livres audio
57 pages. Temps de lecture estimé 43min.
The Emirates Code – Unlocking the Secrets of Tradition + Vision = FutureWhat if a country could write its own future—based on legacy, led by innovation, and powered by ambition?Welcome to the United Arab Emirates. A land where ancient Bedouin wisdom meets futuristic AI, where the scent of oud lingers in the air beneath sky-piercing towers, and where a vision has transformed golden desert into global brilliance.In this captivating and visionary audiobook, international businesswoman and cultural ambassador Birgit Maria Kemphues reveals the hidden formula behind the UAE’s meteoric rise. With humour, insight, and heartfelt stories, she decodes the unwritten laws of success—from boardrooms to desert tents, from high heels to humility.Through vivid conversations with locals like Saleh and Ibrahim, encounters with trailblazing women, and reflections from her own bold journey, this audiobook unveils:✅ The invisible etiquette behind real influence✅ Why “thinking big” isn’t just a slogan—it’s a lifestyle✅ How the Emirates blend hospitality, heritage, and hyper-innovation into a singular code of progress✨ This is not a guidebook. It’s an experience. A cinematic, deeply personal soundscape that takes you behind the scenes of one of the most extraordinary nations on earth.For dreamers, doers, and those who believe that tradition and technology can walk hand in hand.???? Listen now and discover the code that shapes tomorrow.???? The Emirates Code—because the future doesn’t wait. Follow me on YouTube @kemphues

The Emirates Code
Birgit Maria Kemphues
42min45
Littérature & Beaux Arts
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Livres audio
57 pages. Temps de lecture estimé 43min.
The Emirates Code – Unlocking the Secrets of Tradition + Vision = FutureWhat if a country could write its own future—based on legacy, led by innovation, and powered by ambition?Welcome to the United Arab Emirates. A land where ancient Bedouin wisdom meets futuristic AI, where the scent of oud lingers in the air beneath sky-piercing towers, and where a vision has transformed golden desert into global brilliance.In this captivating and visionary audiobook, international businesswoman and cultural ambassador Birgit Maria Kemphues reveals the hidden formula behind the UAE’s meteoric rise. With humour, insight, and heartfelt stories, she decodes the unwritten laws of success—from boardrooms to desert tents, from high heels to humility.Through vivid conversations with locals like Saleh and Ibrahim, encounters with trailblazing women, and reflections from her own bold journey, this audiobook unveils:✅ The invisible etiquette behind real influence✅ Why “thinking big” isn’t just a slogan—it’s a lifestyle✅ How the Emirates blend hospitality, heritage, and hyper-innovation into a singular code of progress✨ This is not a guidebook. It’s an experience. A cinematic, deeply personal soundscape that takes you behind the scenes of one of the most extraordinary nations on earth.For dreamers, doers, and those who believe that tradition and technology can walk hand in hand.???? Listen now and discover the code that shapes tomorrow.???? The Emirates Code—because the future doesn’t wait. Follow me on YouTube @kemphues

Accès libre

Affiche du document Éthiopie, année 30 — Éthiopie, année 30
2h24min00
Littérature & Beaux Arts
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192 pages. Temps de lecture estimé 2h24min.

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