Documents found
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191.More information
In several compositions, Brian Cherney has reflected on the Holocaust and its impact, exploring how music can respond to such tragedy; his recent engagement with the poetry of Paul Celan is a natural extension of these preoccupations. This article offers a close reading of Cherney's choral setting of Celan's Tenebrae. The composer incorporates several additional texts that create a genealogy of the poem, from biblical passages to fragments of Dante and Hölderlin to accounts of the Holocaust itself; he arranges these texts to highlight semantic and sonic features of Celan's work. Perhaps Cherney's boldest move is his insertion of Hebrew letters, linking his composition to the long tradition of Lamentations settings—a link cemented by a quotation from Couperin's Leçons de Ténèbres, which provides important motivic material. Through these additions, Cherney turns the poem towards us, inviting us to respond to its call for reflective witness.
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192.More information
The article deals with performances of memories and identities by and about Jews from the Middle East and North Africa region, with a focus on Jews of Libyan descent. It acknowledges the complexity that intrinsically characterizes these sources in terms of the heterogeneity of their contents, but also the political implications inherent to their transmission and communication. What is needed, however, is to make this complexity readable, and to make it readable, the author suggests making it visible. To achieve this goal, the author proposes adopting a new research approach which takes inspiration from the field of digital humanities, to assist in thinking spatially and visually about the performances of memories and identities. This can bring about a kind of methodological reconciliation between the researcher, the complexity of the data, the necessity to transform them into accurate research results and the responsibility to effectively communicate them to the larger public.
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196.More information
In Morley Torgov's The Mastersinger from Minsk, Inspector Herman Preiss, a poor pianist but a great music lover, and his mistress, the cellist Helena Becker, are confronted with Richard Wagner, threatened with ruination on the first performance of his new opera, Die Meistersinger von Nürnberg, in Munich in 1868. Based on historical facts, Torgov's fiction builds a strong case against Wagner, a highly divisive figure and a notorious anti-Semite, and re-opens the debate whether a work of art can be considered independently from the artistic genius who conceived it.
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ABSTRACTThe article looks at some idiosyncrasies of Eisenstein's set design, make-up and lighting for Ivan the Terrible (1945) from three points of view : the first, through the eyes of its Kremlin censors; the second, through the lens of Eisenstein's working notes; the third, through the eyes of the American film director (and part-time film critic) Orson Welles. The author attempts to define what general audiences of the 1940s understood as "cinematic" and "pictorialist" and how Eisenstein's paradoxical film theory and theory of art allowed him to reverse this generally accepted division.