Introduction 1. A passing of worlds: Gurrelieder as Schoenberg's reluctant farewell to the nineteenth century 2. Dialectical opposition in Schoenberg's music and thought 3. Dramatic conflict in Pelleas und Melisande 4. Motive and memory in Schoenberg's First String Quartet 5. Uncanny expressions of time in the music of Arnold Schoenberg 6. The tone row as the source of dramatic conflict in Moses und Aron 7. The String Trio: metaleptic Schoenberg Notes Bibliography Indexes.

/pdf/schoenberg-s-musical-imagination-ltkokhofzi.pdf

Schoenberg's musical imagination

The SAGE International Encyclopedia of Music and Culture

Scholars and critics commonly align W. B. Yeats with Ezra Pound, T. S. Eliot and the modernist movement at large. This incisive study from renowned poetry critic Edna Longley argues that Yeats' presence and influence in modern poetry have been sorely misunderstood. Longley disputes the value of modernist critical paradigms and suggests alternative perspectives for interpreting Yeats - perspectives based on his own criticism, and on how Ireland shaped both his criticism and his poetry. Close readings of particular poems focus on structure, demonstrating how radically Yeats' approach to poetic form differs from that of Pound and Eliot. Longley discusses other twentieth-century poets in relation to Yeats' insistence on tradition, and offers valuable insights into the work of Edward Thomas, Wallace Stevens, Wilfred Owen, Hugh MacDiarmid, W. H. Auden, Louis MacNeice, Geoffrey Hill, Philip Larkin and Ted Hughes. Her postscript addresses key issues in contemporary poetry by taking a fresh look at Yeats's enduring legacy.

/pdf/yeats-and-modern-poetry-337zm7lm4q.pdf

Yeats and Modern Poetry

Staging the Deadlier Sex: Dangerous Women in German Text and Performance at the Fin de Siecle.

In a solitary place: Raymond Roussel’s brain and the French cult of unreason

Introduction Symbolist Beginnings La Princesse Maleine and Symbolist Theatre Maeterlinck, Mallarme, and Symbolist Dramatic Theory Theatre and the Invisible Principle: Pelleas and Melisande Using the Stage: the One-act Plays The Fecund Interval: 'Le Tragique quotidien' Conclusion Bibliography Index

Maurice Maeterlinck and the Making of Modern Theatre

Poetry and Radical Politics in fin de siecle France: From Anarchism to Action francaise

Contents: Part 1: Mallarme and the "siecle finissant", Peter Dayan disinterested Narcissus - the play of politics in decadent form, Jennifer Birkett experiment in women's writing in the "fin de siecle", Alison Finch the poetry of symbolism and decadence, Clive Scott the difficult distance - Mallarme and the symbolist stage, Michael Holland the kinaesthetics of chance - Mallarme's "Un Coup de des" and avant-garde choreography, Dee Reynolds Villiers, Verne, Lumiere - the business of immortality, Ian Christie text and image, allegory and symbol in Gustave Moreau's "Jupiter et Semele", Peter Cooke between medicine and hermeticism - "the" unconscious in the "fin de siecle". Part 2: primitivism, celticism and morbidity in the Atlantic "fin de siecle", Scott Ashley Belgian symbolism and the question of Belgian literary identity, Patrick Laude temporary aesthetes - decadence and symbolism in Germany and Austria, Robert Vilain the war of the wor(l)ds - symbolist decadent literature and discourses of power in finisecular Spain, Richard A. Cardwell French symbolism and Italian poetry, 1880-1920, Shirley W. Winall from Mallarme to Pound - the "Franco-Anglo-American" axis, Patrick McGuinness.

Symbolism, Decadence and the Fin de Siecle: French and European Perspectives

Henri de Regnier recalls Mallarme saying, in April 1894: “Il n’y a qu’un homme qui ait le droit d’etre anarchiste: moi, le Poete, puisque, seul, je fabrique un produit dont la Societe ne veut pas, en echange duquel elle ne me donne pas de quoi vivre.” This article presents a close reading of one of Mallarme’s Divagations
	 texts, « Laurent Tailhade, » in the context of Symbolist responses to the anarchist bombing campaigns of the « ere des attentats, » in order to sketch out Mallarme’s own notion of the poetics of explosion – at once more modest and more audacious than those of his more ‘radical’ contemporaries.

Mallarmé and the Poetics of Explosion

Tranquil Independence National identity and Musical Modernity in Belgium Between the Wars

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