Aus unseren Neuerwerbungen – Anglistik 2023.4

Unbe­lief in inter­war lit­er­ary cul­ture: doubt­ing mod­erns
BuchcoverUnbe­lief offers a new account of the rela­tion­ship between lit­er­ary and sec­u­lar­ist scenes of writ­ing in inter­war Britain. Orga­nized sec­u­lar­ism has some­times been seen as a phe­nom­e­non that lived and died with the nine­teenth cen­tu­ry. But asso­ci­a­tions such as the Nation­al Sec­u­lar Soci­ety and the Ratio­nal­ist Press Asso­ci­a­tion sur­vived into the twen­ti­eth and found new pur­pose in the pro­mo­tion and pub­lish­ing of seri­ous lit­er­a­ture. This book assem­bles a group of lit­er­ary fig­ures whose work was rec­om­mend­ed as being of par­tic­u­lar inter­est to the unbe­liev­ing read­er­ship tar­get­ed by these orga­ni­za­tions. Some, includ­ing Ver­non Lee, H. G. Wells, Nao­mi Mitchi­son, and K. S. Bhat, were mem­bers or friends of the RPA; oth­ers, such as Mary Butts, were scep­ti­cal but nonethe­less reg­is­tered its impor­tance in their work; a third group, includ­ing D. H. Lawrence and George Moore, wrote in ways seen as sym­pa­thet­ic to the Ratio­nal­ist cause. All of these writ­ers pro­duced fic­tion that was exper­i­men­tal in form and, though few of them could be described as mod­ernist, they shared with mod­ernist writ­ers a will to inno­vate. This book explores how sec­u­lar­ist ideas were adapt­ed and trans­formed by these exper­i­ments, focus­ing in par­tic­u­lar on the mod­i­fi­ca­tions required to accom­mo­date the strong mode of unbe­lief asso­ci­at­ed with British sec­u­lar­ism to the notion­al mode of belief usu­al­ly solicit­ed by fic­tion. Where­as mod­ernism is often under­stood as the lit­er­a­ture for a sec­u­lar age, Unbe­lief looks else­where to find a lit­er­a­ture that draws more direct­ly on sec­u­lar­ism for its aes­thet­ics and its ethics.
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Mon­stros­i­ty, iden­ti­ty, and music: medi­at­ing uncan­ny crea­tures from Franken­stein to videogames
BuchcoverPrac­ti­cal Musi­col­o­gy out­lines a the­o­ret­i­cal frame­work for study­ing a broad range of cur­rent musi­cal prac­tices and aims to pro­voke dis­cus­sion about key issues in the rapid­ly expand­ing area of prac­ti­cal musi­col­o­gy: the study of how music is made. The book explores var­i­ous forms of prac­tice rang­ing from per­for­mance and com­po­si­tion to lis­ten­ing and danc­ing, from his­tor­i­cal­ly informed per­for­mances of Bach in the USA to Indone­sian Dub­step or Aus­tralian musi­cal the­atre, and from Irish tra­di­tion­al music played by French musi­cians from Toulouse to Brazil­ian thrash met­al or K‑Pop. Draw­ing on neu­ro­science, cog­ni­tive psy­chol­o­gy, eco­log­i­cal approach­es in anthro­pol­o­gy, and the social con­struc­tion of tech­nol­o­gy and cre­ativ­i­ty, Zagors­ki-Thomas uses a series of case stud­ies and exam­ples to inves­ti­gate how prac­tice is already being stud­ied and to sug­gest a prin­ci­ple for how it might con­tin­ue to devel­op, based around the asser­tion that musick­ing can­not be treat­ed as a cul­tur­al­ly or ide­o­log­i­cal­ly neu­tral phe­nom­e­non.
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