Author: Publisher:
ISBN:
Category : Music
Languages : en
Pages : 168
Book Description
The Concert Goer's Annual
Author: Drum Solos, Bottles and Bands - Memories of a Concert-goer 1981-1999
Author: Colin BertramPublisher: Colin Bertram
ISBN: 1291015795
Category : Performing Arts
Languages : en
Pages : 113
Book Description
Recollections from a selection of concerts the author went to in the UK during the 1980s and 90s. Ranging from big names like Queen and ZZ Top to less well known bands such as Stump and Urge Overkill, the book describes events that made the gigs memorable such as a fire alarm going off during a gig, a guitarist performing an encore naked and a singer pushing a drunken fan off the stage.
The Concert Guide
Author: Gerhart von WestermanPublisher:
ISBN:
Category : Music appreciation
Languages : de
Pages : 488
Book Description
The education of a concert-goer
Author: Homer UlrichMusical Leader and Concert Goer
Author: The Concert-goer
Author: William H. DalyPublisher: Edinburgh ; London : Paterson
ISBN:
Category : Orchestra
Languages : en
Pages : 138
Book Description
The Concert-goer's Guide
Author: Evelyn PorterThe Bounds of Freedom: Kant’s Causal Theory of Action
Author: Robert GreenbergPublisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110494124
Category : Philosophy
Languages : en
Pages : 145
Book Description
This monograph is a new interpretation of Kant’s àtemporal conception of the causality of the freedom of the will. The interpretation is based on an analysis of Kant’s primary conception of an action, viz., as a causal consequence of the will. The analysis in turn is based on H. P. Grice’s causal theory of perception and on P. F. Strawson’s modification of the theory. The monograph rejects the customary assumption that Kant’s maxim of an action is a causal determination of the action. It assumes instead that the maxim is definitive of the action, and since its main thesis is that an action for Kant is to be primarily understood as an effect of the will, it concludes that the maxim of an action can only be its logical determination. Kant’s àtemporal conception of the causality of free will is confronted not only by contemporary philosophical conceptions of causality, but by Kant’s own complementary theory of causality, in the Second Analogy of Experience. According to this latter conception, causality is a natural relation among physical and psychological objects, and is therefore a temporal relation among them. Faced with this conflict, Kant scholars like Allen W. Wood either reject Kant’s àtemporal conception of causality or like Henry E. Allison accept it, but only in an anodyne form. Both camps, however, make the aforementioned assumption that Kant’s maxim of an action is a causal determination of the action. The monograph, rejecting the assumption, belongs to neither camp.
Fashioned Texts and Painted Books
Author: Erin E. EdgingtonPublisher: UNC Press Books
ISBN: 146963578X
Category : Poetry
Languages : en
Pages : 273
Book Description
Fashioned Texts and Painted Books examines the folding fan's multiple roles in fin-de-siecle and early twentieth-century French literature. Focusing on the fan's identity as a symbol of feminine sexuality, as a collectible art object, and, especially, as an alternative book form well suited to the reception of poetic texts, the study highlights the fan's suitability as a substrate for verse, deriving from its myriad associations with coquetry and sex, flight, air, and breath. Close readings of Stephane Mallarme's eventails of the 1880s and 1890s and Paul Claudel's Cent phrases pour eventails (1927) consider both text and paratext as they underscore the significant visual interest of this poetry. Works in prose and in verse by Octave Uzanne, Guy de Maupassant, and Marcel Proust, along with fan leaves by Edgar Degas, Edouard Manet, Berthe Morisot, and Paul Gauguin, serve as points of comparison that deepen our understanding of the complex interplay of text and image that characterizes this occasional subgenre. Through its interrogation of the correspondences between form and content in fan poetry, this study demonstrates that the fan was, in addition to being a ubiquitous fashion accessory, a significant literary and art historical object straddling the boundary between East and West, past and present, and high and low art.
Author: