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Französischer Tanz und Tanzmusik in Europa zur ...
110,00 CHF *
ggf. zzgl. Versand

Der Tanz war eines der bedeutendsten Medien, um die Grandeur des französischen Königs Ludwig XIV. zu kommunizieren. Zeitgenossen sahen ihn als geradezu synonym mit dem Ausdruck französischer Identität an. Die europäische Tanzkultur war daher bald stark von der französischen dominiert. Doch wie wurde der dem französischen Tanzstil innewohnende Kommunikationscharakter im Ausland rezipiert? Indem sie semiotische, hermeneutische und anthropologische Elemente verbindet, beschreibt und analysiert die Studie, wie mittels Barocktanz Inhalte vermittelt wurden, um welche Inhalte es sich dabei handelte und wie sie verstanden oder missverstanden wurden. Diskutiert werden unter anderem die Ballets de cour unter Ludwig XIV., Ballette in französischen und italienischen Opern der zweiten Hälfte des 17. Jahrhunderts, Gesellschaftstanz in Frankreich, Deutschland, England und Italien sowie die Übernahme von französischen Tanzformen in die italienische Instrumentalmusik des späten 17. Jahrhunderts. In allen untersuchten Fällen erweist sich Tanz als eine Form symbolischer Kommunikation, die geeignet ist, soziale, ideologische und nationale Identitäten im Europa zur Zeit Ludwigs XIV. zu bestimmen. *** Dance was one of the most important means of conveying the granduer of the French court under Louis XIV. It was used to such an extent to present the fame of the King and of the French state which he embodied, that contemporaries generally considered it practically synonymous with the expression of French identity. European dance culture was thus soon dominated by that of France. But how did other countries react to the implicit communicative nature of the French dancing style? Combining semiotic, hermeneutic and anthropological elements, this study describes and analyses the ways in which meanings were conveyed in baroque dance culture, what these meanings were, and how they were understood or misunderstood. Topics discussed include the ballets de cour under Louis XIV, ballets in French and Italian opera in the second half of the 17th century, formal dancing in France, Germany, England and Italy, and the adoption of French dance forms in late 17th-century Italian instrumental music. In all the areas examined, dance is shown to be a form of symbolic communication suited to the determination of social, ideological and national identities at the time of Louis XIV.

Anbieter: Orell Fuessli CH
Stand: 09.08.2020
Zum Angebot
Killing Commendatore
35,90 CHF *
ggf. zzgl. Versand

A Washington Post, San Francisco Chronicle, Financial Times,  Library Journal, LitHub, and  Kirkus Reviews Best Book of the Year “[Murakami] is as masterful as ever at building an intricate narrative and keeping his audience in suspense. Killing Commendatore is both a testament to the transformational power of art and a cautionary tale on the dangers of exploration.” — Houston Chronicle   “A spellbinding parable of art, history, and human loneliness.” — O, The Oprah Magazine   “Expansive and intricate . . . touches on many of the themes familiar in Mr. Murakami’s novels: the mystery of romantic love, the weight of history, the transcendence of art, the search for elusive things just outside our grasp.” — The New York Times   “Eccentric and intriguing,  Killing Commendatore is the product of a singular imagination. . . . Murakami is a wiz at melding the mundane with the surreal. . . . He has a way of imbuing the supernatural with uncommon urgency. His placid narrative voice belies the utter strangeness of his plot. . . . The worldview of Murakami’s novels is consistent, and it’s invigorating. In this book and many that came before it, he urges us to embrace the unusual, accept the unpredictable.” — San Francisco Chronicle   “Beguiling. . . . Murakami is brilliant at folding the humdrum alongside the supernatural; finding the magic that’s nested in life’s quotidian details. . . . His prose is warm, conversational and studded with quiet profundities. He’s eminently good company; that most precious of qualities that we look for in an author. We trust him to get us entertainingly lost, just as we trust that he’ll eventually get us home.” — The Guardian   “Exhilarating. . . . Only in the calm madness of his magical realism can Murakami truly capture one of his obsessions, the usually ineffable yearning that drives a person to make art.” — The Washington Post   “Another intriguing, time-challenging tome you can’t wait to finish . . . while simultaneously wishing you might never reach its conclusion, dreading the end of another indescribable Murakami odyssey.” — The Christian Science Monitor   “Some novelists hold a mirror up to the world and some, like Haruki Murakami, use the mirror as a portal to a universe hidden beyond it. . . . What can't be denied is Mr. Murakami's irresistible storytelling ability. He builds his self-contained world deliberately and faithfully, developing intrigue and suspense and even taking care to give each chapter a cliffhanger ending as in an old-fashioned serialized novel.” — The Wall Street Journal   “No other author mixes domestic, fantastic and esoteric elements into such weirdly bewitching shades. . . . Just as he straddles barriers dividing high art from mass entertainment, so he suspends borders between east and west.” — Financial Times   “Wild, thrilling. . . . Murakami is a master storyteller and he knows how to keep us hooked.” — The Sunday Times (London) “[ Killing Commendatore] marks the return of a master.” — Esquire   “More of Murakami’s magical mist, but its size, beauty, and concerns with lust and war bring us back to the vividness and scale of his 1997 epic,  The Wind-up Bird Chronicle.’’ — The Boston Globe   “No ordinary trip; get ready for a wild ride.” — Entertainment Weekly   “A perfect balance of tradition and individual talent. . . . Murakami dancing along ‘the inky blackness of the Path of Metaphor’ is like Fred Astaire dancing across a floor, then up the walls and onto the ceiling.” — The Spectator

Anbieter: Orell Fuessli CH
Stand: 09.08.2020
Zum Angebot
Französischer Tanz und Tanzmusik in Europa zur ...
95,99 € *
ggf. zzgl. Versand

Der Tanz war eines der bedeutendsten Medien, um die Grandeur des französischen Königs Ludwig XIV. zu kommunizieren. Zeitgenossen sahen ihn als geradezu synonym mit dem Ausdruck französischer Identität an. Die europäische Tanzkultur war daher bald stark von der französischen dominiert. Doch wie wurde der dem französischen Tanzstil innewohnende Kommunikationscharakter im Ausland rezipiert? Indem sie semiotische, hermeneutische und anthropologische Elemente verbindet, beschreibt und analysiert die Studie, wie mittels Barocktanz Inhalte vermittelt wurden, um welche Inhalte es sich dabei handelte und wie sie verstanden oder missverstanden wurden. Diskutiert werden unter anderem die Ballets de cour unter Ludwig XIV., Ballette in französischen und italienischen Opern der zweiten Hälfte des 17. Jahrhunderts, Gesellschaftstanz in Frankreich, Deutschland, England und Italien sowie die Übernahme von französischen Tanzformen in die italienische Instrumentalmusik des späten 17. Jahrhunderts. In allen untersuchten Fällen erweist sich Tanz als eine Form symbolischer Kommunikation, die geeignet ist, soziale, ideologische und nationale Identitäten im Europa zur Zeit Ludwigs XIV. zu bestimmen. *** Dance was one of the most important means of conveying the granduer of the French court under Louis XIV. It was used to such an extent to present the fame of the King and of the French state which he embodied, that contemporaries generally considered it practically synonymous with the expression of French identity. European dance culture was thus soon dominated by that of France. But how did other countries react to the implicit communicative nature of the French dancing style? Combining semiotic, hermeneutic and anthropological elements, this study describes and analyses the ways in which meanings were conveyed in baroque dance culture, what these meanings were, and how they were understood or misunderstood. Topics discussed include the ballets de cour under Louis XIV, ballets in French and Italian opera in the second half of the 17th century, formal dancing in France, Germany, England and Italy, and the adoption of French dance forms in late 17th-century Italian instrumental music. In all the areas examined, dance is shown to be a form of symbolic communication suited to the determination of social, ideological and national identities at the time of Louis XIV.

Anbieter: Thalia AT
Stand: 09.08.2020
Zum Angebot
Killing Commendatore
19,99 € *
zzgl. 3,00 € Versand

A Washington Post, San Francisco Chronicle, Financial Times,  Library Journal, LitHub, and  Kirkus Reviews Best Book of the Year “[Murakami] is as masterful as ever at building an intricate narrative and keeping his audience in suspense. Killing Commendatore is both a testament to the transformational power of art and a cautionary tale on the dangers of exploration.” — Houston Chronicle   “A spellbinding parable of art, history, and human loneliness.” — O, The Oprah Magazine   “Expansive and intricate . . . touches on many of the themes familiar in Mr. Murakami’s novels: the mystery of romantic love, the weight of history, the transcendence of art, the search for elusive things just outside our grasp.” — The New York Times   “Eccentric and intriguing,  Killing Commendatore is the product of a singular imagination. . . . Murakami is a wiz at melding the mundane with the surreal. . . . He has a way of imbuing the supernatural with uncommon urgency. His placid narrative voice belies the utter strangeness of his plot. . . . The worldview of Murakami’s novels is consistent, and it’s invigorating. In this book and many that came before it, he urges us to embrace the unusual, accept the unpredictable.” — San Francisco Chronicle   “Beguiling. . . . Murakami is brilliant at folding the humdrum alongside the supernatural; finding the magic that’s nested in life’s quotidian details. . . . His prose is warm, conversational and studded with quiet profundities. He’s eminently good company; that most precious of qualities that we look for in an author. We trust him to get us entertainingly lost, just as we trust that he’ll eventually get us home.” — The Guardian   “Exhilarating. . . . Only in the calm madness of his magical realism can Murakami truly capture one of his obsessions, the usually ineffable yearning that drives a person to make art.” — The Washington Post   “Another intriguing, time-challenging tome you can’t wait to finish . . . while simultaneously wishing you might never reach its conclusion, dreading the end of another indescribable Murakami odyssey.” — The Christian Science Monitor   “Some novelists hold a mirror up to the world and some, like Haruki Murakami, use the mirror as a portal to a universe hidden beyond it. . . . What can't be denied is Mr. Murakami's irresistible storytelling ability. He builds his self-contained world deliberately and faithfully, developing intrigue and suspense and even taking care to give each chapter a cliffhanger ending as in an old-fashioned serialized novel.” — The Wall Street Journal   “No other author mixes domestic, fantastic and esoteric elements into such weirdly bewitching shades. . . . Just as he straddles barriers dividing high art from mass entertainment, so he suspends borders between east and west.” — Financial Times   “Wild, thrilling. . . . Murakami is a master storyteller and he knows how to keep us hooked.” — The Sunday Times (London) “[ Killing Commendatore] marks the return of a master.” — Esquire   “More of Murakami’s magical mist, but its size, beauty, and concerns with lust and war bring us back to the vividness and scale of his 1997 epic,  The Wind-up Bird Chronicle.’’ — The Boston Globe   “No ordinary trip; get ready for a wild ride.” — Entertainment Weekly   “A perfect balance of tradition and individual talent. . . . Murakami dancing along ‘the inky blackness of the Path of Metaphor’ is like Fred Astaire dancing across a floor, then up the walls and onto the ceiling.” — The Spectator

Anbieter: Thalia AT
Stand: 09.08.2020
Zum Angebot