Aus unseren Neuerwerbungen – Sprachen und Kulturen Asiens, Afrikas und Ozeaniens 2023.12

The Oxford Hand­book of Music in Chi­na and the Chi­nese Dias­po­ra
BuchcoverIn The Oxford Hand­book of Music in Chi­na and the Chi­nese Dias­po­ra, twen­ty-three schol­ars advance knowl­edge and under­stand­ings of Chi­nese music stud­ies. Each con­tri­bu­tion devel­ops a the­o­ret­i­cal mod­el to illu­mi­nate new insights into a key musi­cal genre or con­text.
This hand­book is cat­e­go­rized into three parts. In Part One, authors explore the exten­sive, remark­able, and polyvo­cal his­tor­i­cal lega­cies of Chi­nese music. Rang­ing from archae­o­log­i­cal find­ings to the cre­ation of music his­to­ry, chap­ters address endur­ing his­tor­i­cal prac­tices and emerg­ing cul­tur­al expres­sions. Part Two focus­es on evolv­ing prac­tice across a spec­trum of key instru­men­tal and vocal gen­res. Each chap­ter pro­vides a por­trait of musi­cal change, tying musi­cal trans­for­ma­tions to the social dimen­sions under­pin­ning that change. Part Three responds to the role that promi­nent issues, includ­ing sex­u­al­i­ty, human­ism, the ama­teur, and eth­nic­i­ty, play in the broad field of Chi­nese music stud­ies. Schol­ars present sys­tem­at­ic ori­en­ta­tions for researchers in the third decade of the twen­ty-first cen­tu­ry.
This vol­ume incor­po­rates exten­sive input from researchers based in Chi­na, Tai­wan, and among Chi­nese com­mu­ni­ties across the world. Using a mod­el of col­lab­o­ra­tive inquiry, The Oxford Hand­book of Music in Chi­na and the Chi­nese Dias­po­ra fea­tures diverse insid­er voic­es along­side authors posi­tioned across the anglo­phone world.
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The object of Jew­ish lit­er­a­ture a mate­r­i­al his­to­ry
BuchcoverA his­to­ry of mod­ern Jew­ish lit­er­a­ture that explores our endur­ing attach­ment to the book as an object
With the rise of dig­i­tal media, the „death of the book” has been wide­ly dis­cussed. But the phys­i­cal object of the book per­sists. Here, through the lens of mate­ri­al­i­ty and objects, Bar­bara E. Mann tells a his­to­ry of mod­ern Jew­ish lit­er­a­ture, from nov­els and poet­ry to graph­ic nov­els and artists’ books. Bring­ing con­tem­po­rary work on sec­u­lar­ism and design in con­ver­sa­tion with lit­er­ary his­to­ry, she offers a new and dis­tinc­tive frame for under­stand­ing how lit­er­ary gen­res emerge.
The long twen­ti­eth cen­tu­ry, a peri­od of tremen­dous phys­i­cal upheaval and geo­graph­ic move­ment, wit­nessed the pro­duc­tion of a mul­ti­lin­gual canon of writ­ing by Jew­ish authors. Literature’s object­hood is felt not only in the phys­i­cal qual­i­ties of books—bindings, cov­ers, typog­ra­phy, illustrations—but also through the ways in which mate­ri­al­i­ty itself became a prac­ti­cal foun­da­tion for lit­er­ary expres­sion.
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