Podcasts about german romantic

Dave McArthur braves the podcasting ether alone to discuss the new exhibition at the Metropolitan Museum of Art in New York, The Soul of Nature and the work of German Romantic painter Caspar David Friedrich.

For the first time, a major exhibition of German Romantic painter Caspar David Friedrich has come to the United States. Curators Alison Hokanson and Joanna Seidenstein discuss the exhibit, Caspar David Friedrich: The Soul of Nature, on view at the Metropolitan Museum of Art through May 11. 

Episode No. 692 features curators Alison Hokanson and Joanna Sheers Seidenstein, and Danielle Canter.  Hokanson and Seidenstein are the co-curators of "Caspar David Friedrich: The Soul of Nature," which opens at the Metropolitan Museum of Art this weekend and is on view through May 11. It is the first retrospective of the German Romantic artist's work in the United States. Friedrich was a leader in German Romanticism, which offered new understandings of the relationship between humans and the natural world. Last year was the 250th anniversary of Friedrich's birth. The Met has published an excellent catalogue of the exhibition. Amazon and Bookshop offer it for $45-50.  Canter is the curator of "A Brush with Nature: Romantic Landscape Drawings," which opens at the J. Paul Getty Museum on Feb. 18. The exhibition features dozens of drawings in which artists such as J.M.W. Turner, Théodore Géricault, and Friedrich respond to the natural world around them. "A Brush with Nature" will be on view through May 25.  Instagram: Alison Hokanson, Joanna Sheers Seidenstein, Tyler Green.

GB2RS News Sunday the 8th of September The news headlines: Book your RSGB Convention tickets now There are several vacancies in the RSGB's Regional Team Remember to call in to the CHOTA stations on Saturday The RSGB Convention is just five weeks away and an exciting programme of presentations and practical activities is being prepared. The early bird price for day tickets ends on the 15th of September and this year there won't be any extensions to that date! As well as three streams of presentations across the weekend there will be an introductory workshop on microcontroller programming. This workshop is part of the Society's aim to widen the programming skills in the amateur radio community and to introduce people to something new. On Saturday morning RSGB experts will give an EMC and EMF update presentation, followed by an informal EMC and EMF clinic in the afternoon. The RSGB HF and VHF contest forums will take place on Sunday. Throughout the weekend there will be opportunities to talk to RSGB representatives and to members of many special interest groups who could inspire you to try a different aspect of amateur radio. The RSGB 2024 Convention – your convention, your way. To book your day tickets and to book for the workshop, go to rsgb.org/convention The RSGB has 13 regions, each covered by a Regional Representative and a team of District Representatives. This volunteer team is an important link to clubs and a potential source of support and information for individual radio amateurs. There are several vacancies in the Regional Team and this month we're highlighting two regions. In Region 5 there is an opportunity for someone to volunteer as a District Representative covering Gloucestershire, Hereford and South Worcestershire. There are also two vacancies in Region 13 for District Representatives to cover Leicestershire and Rutland, and also North Lincolnshire. If you're interested in supporting local radio amateurs and clubs in those areas, please contact the appropriate Regional Representative. You can find their details by going to our website at rsgb.org/regions and clicking on the region in which you live. Next Saturday, the 14th, lots of amateur radio stations will be on the air to take part in the Churches and Chapels on the Air event, also known as CHOTA. The event will take place from 10 am to 4 pm and operation will be focused on the 80, 40 and 20m bands. To see the list of churches and chapels taking part visit the ‘CHOTA' tab on the World Association of Christian Radio Amateurs and Listeners website at wacral.org Several changes have been made to the RSGB contest trophies process, for logistical and resource reasons. For example, instead of engraving each trophy, the winner will be presented with a quality certificate at the Trophy Presentations on Sunday morning at the RSGB Convention. For each award, a high-quality photograph will be taken of the winner with their trophy, and that photo will be available for the winner if they would like it. RSGB HQ will now administer all trophies for the AGM event. The full changes are shown in the updated trophy policy on the RSGB website at rsgb.org/trophies  If you have any questions about these changes, please contact the RSGB Trophy Manager Mike Franklin, G3VYI via trophy.manager@rsgb.org.uk Over the course of a year, radio amateur Maggie laquinto, VK3CFI attempted to make contact with Russian cosmonauts on the Mir space station. Maggie used her amateur radio skills and equipment to monitor the orbit of the space station and listen to the frequencies that it used. After the dissolution of the Soviet Union in 1991, Maggie relayed crucial information to cosmonaut Sergei Krikalev. In a recent BBC programme, Maggie's son Ben laquinto speaks to Megan Jones. You can listen to the programme by searching for ‘The woman who spoke to the space station' on the bbc.co.uk website.  And now for details of rallies and events Caister Lifeboat Radio Rally is taking place today, the 8th, at Caister Lifeboat station, Caister on Sea, NR30 5DJ. The doors are open from 9 am to 8 pm and there is no admission fee. Sellers can gain access from 8 am. For more information email Zane, M1BFI via m1bfi@outlook.com or phone 07711 214 790. The Broadcast Engineering Museum near Gainsborough in Lincolnshire is new and a work in progress, so it only opens a few days each year. The next open days are coming up on Saturday the 14th and Sunday the 15th of September from 11 am to 4 pm. The Museum contains a vast collection of historic broadcasting equipment and memorabilia, some restored and working, on display in a former RAF sergeants' mess. Free parking is available on-site. For more information email contactus@becg.org.uk or visit becg.org.uk The British Vintage Wireless Society is holding a swap meet and auction on Sunday the 15th of September. The venue will be the Weatherley Centre, Eagle Farm Road, Biggleswade, Bedfordshire, SG18 8JH. Stallholders can gain entry from 9 am. Admission for visitors will be available from 9.30 am for £8. The auction starts at 12.30 pm and hot and cold refreshments will be available all day. For more information visit bvws.org.uk or email Jeremy Owen, G8MLK at secretary@bvws.org.uk Now the Special Event news To celebrate Malaysia Day, special callsign 9M61S is active until the 16th of September. Operators will be working on the HF bands using SSB, CW and digital modes. For more information see QRZ.com Special callsign DL250CDF is active until the 30th of September to mark the 250th anniversary of the birth of painter Caspar David Friedrich, an icon of the German Romantic movement. The station is operating on the HF bands using CW, digital modes and SSB. All QSOs will be confirmed automatically via the Bureau, eQSL and Logbook of World. For details of a certificate that is available visit tinyurl.com/DL250CDF Now the DX news Bob, ZL1RS is active as E51EME from Rarotonga, OC-013, in the South Cook Islands until the 15th of September. He is focusing on operating FT8 on the 6m band, with 6m EME using Q65-60A as a secondary activity. QSL via Club Log's OQRS and Logbook of the World. See QRZ.com for more information and updates. Bernard, DL2GAC is active as H44MS from Malaita, OC-047, in the Solomon Islands, until the 15th of September. He operates SSB and some FT8 on the 40 to 6m bands. QSL via Bernard's home call, directly or via the Bureau. QSOs will be uploaded to Club Log and Logbook of the World. Now the contest news The All Asian DX Contest started at 0000UTC on Saturday the 7th and ends at 2359UTC on Sunday the 8th of September. Using SSB on the 160 to 10m bands, where contests are permitted, the exchange is signal report and your age. SSB Field Day started at 1300UTC on Saturday the 7th and ends at 1300UTC today, the 8th of September. Using SSB on the 80 to 10m bands, where contests are permitted, the exchange is signal report and serial number. The 144MHz Trophy Contest started at 1400UTC on Saturday the 7th and ends at 1400UTC today, Sunday the 8th of September. Using all modes on the 2m band, the exchange is signal report, serial number and locator. Today, the 8th, the Worked All Britain 2m QRO Phone Contest runs from 1000 to 1400UTC. Using SSB on the 2m band, the exchange is signal report, serial number and Worked All Britain square. Also today, the 8th, the 5th 144MHz Backpackers Contest runs from 1100 to 1500 UTC. Using all modes on the 2m band, the exchange is signal report, serial number and locator. On Tuesday the 10th, the 432MHz FM Activity Contest runs from 1800 to 1855 UTC. Using FM on the 70cm band, the exchange is signal report, serial number and locator. Also on Tuesday the 10th, the 432MHz UK Activity Contest runs from 1900 to 2130 UTC. Using all modes on the 70cm band, the exchange is signal report, serial number and locator. On Wednesday the 11th, the 432MHz FT8 Activity four-hour Contest runs from 1700 to 2100UTC. Using FT8 on the 70cm band, the exchange is a report and four-character locator. Also on Wednesday the 11th, the 432MHz FT8 Activity two-hour Contest runs from 1900 to 2100 UTC. Using FT8 on the 70cm band, the exchange is a report and four-character locator. Stations entering the four-hour contest may also enter the two-hour contest. Also on Wednesday the 11th, the Autumn Series CW Contest runs from 1900 to 2030 UTC. Using CW on the 80m band, the exchange is signal report and serial number. On Thursday the 12th, the 50MHz UK Activity Contest runs from 1900 to 2130 UTC. Using all modes on the 6m band, the exchange is signal report, serial number and locator. On Sunday the 15th, the 70MHz Affiliated Societies Contest runs from 0900 to 1200 UTC. Using all modes on the 4m band, the exchange is signal report, serial number and locator. The Worked All Europe DX SSB Contest starts at 0000 UTC on Saturday the 14th and runs until 2359UTC on Sunday the 15th of September. Using SSB on the 80 to 10m bands, where contests are permitted, the exchange is signal report and serial number. On Sunday the 15th, the UK Microwave Group 24 to 76GHz Contest runs from 0900 to 1700 UTC. Using All modes on 24 to 76GHz frequencies, the exchange is signal report, serial number and locator. Also on Sunday the 15th, the IRTS 70cm Counties Contest runs from 1300 to 1330UTC. Using SSB and FM on the 70cm band, the exchange is signal report, serial number and locator. Irish stations also give their county. The IRTS 2m Counties Contest is also taking place on Sunday the 15th from 1300 to 1500 UTC. Using SSB and FM on the 2m band, the exchange is signal report, serial number and locator. Irish stations also give their county. Also on Sunday the 15th, the British Amateur Radio Teledata Group Sprint PSK63 Contest runs from 1700 to 2100UTC. Using PSK63 on the 80 to 10m bands, the exchange is your serial number. Now the radio propagation report, compiled by G0KYA, G3YLA, and G4BAO on Thursday the 5th of September 2024 Last week was underlined by continued high solar flux indices and excellent 10m band propagation to CY9C on Saint Paul Island near Newfoundland. The DXpedition, which has now ended, was often at S9+ on 28MHz up to two hours after sunset. This may be a sign that better autumnal HF conditions are just around the corner and bodes well for the rest of the year. The average sunspot number has now exceeded 200 for the first time in 23 years. This puts it significantly better than Solar Cycle 24 and it looks like there is more to come. Propquest.co.uk reports that maximum usable frequencies over a 3,000km path are now often above 28MHz, so look out for DX on the 10m band. This will improve as the month goes on. September is a good month for north-south paths and paths to North America will improve as we head into October. So, get your higher HF band antennas sorted out, as this autumn could be fun! During the week just past, there were 21 M-class flares, but no X-class events. The Kp index has been under 5 all week, which no doubt helped HF propagation flourish. Large coronal mass ejections, or CMEs, did occur on the 1st and 3rd of September, but these appear to be related to far-side events, well beyond the northwest limb and were directed away from Earth. But that active region is now rotating into view so buckle up for potential Earth-directed CME activity. Next week, the Space Weather Prediction Centre suggests that the solar flux index will remain in the 240 to 250 range. Unsettled geomagnetic conditions are forecast for today, the 8th of September but, as we always say, keep an eye on solarham.com for up-to-date solar information as things are likely to change each day. And now the VHF and up propagation news from G3YLA and G4BAO The slightly enhanced Tropo conditions were welcome for the 144MHz UK Activity Contest on the 3rd of September. However, in the coming week, the opposite is now the case for many parts of the country as low pressure is set to dominate the weather charts. There may be some weak ridges of high pressure nearby or even over northern Britain this weekend, but it is not looking great. If pressed for a direction, it looks better across the North Sea to northern Europe and southern Scandinavia in the first part of the week. Much of next week will have low pressure in control, and it will be worth looking for rain scatter on the GHz bands. The solar side of things means that we should be alert to the chance of aurora if the Kp index rises. The autumn is often a good time of the year for these. It will be useful to monitor the Kp index, especially if you hear any signals sounding ‘watery' on the HF and LF bands. It's always worth a reminder that the Sporadic-E season does not drop off a cliff at this time of year.  That said, it does become very infrequent and restricted to lower bands or digital modes under the influence of jet streams.  The southward paths to Iberia and the western Mediterranean look most promising next week for an out-of-season chance Sporadic-E event. There is one small meteor shower this week. The September Epsilon-Perseids peaks with a low zenithal hourly rate of five tomorrow, the 9th. This shower produced unexpected outbursts in 2008 and 2013, but modelling indicates that 2024 activity should be nothing unusual. For EME operators, Moon declination is now negative and falling further, reaching minus 29 degrees next Wednesday. Moon visibility windows continue to fall, as will peak Moon elevation, while path losses are decreasing after apogee. 144MHz sky noise increases from moderate today, the 8th, reaching over 2,500 Kelvin next Wednesday. And that's all from the propagation team this week.

The Poetics Collective, under the banner of VerSeS Music Ensembles, will be performing the romantic and expressive works of Johannes Brahms, Robert Schumann and Clara Schumann. Featuring Robert Schumann's Kinderszenen (Scenes from Childhood), Clara Schumann's Three Romances for Violin and Piano, Opus 22, and Johannes Brahms's Liebeslieder Waltzes, Opus 52, this program delves into the richness of German Romantic music, featuring both instrumental works and a variety of lieder (songs). These lieders will demonstrate the composers' skill in setting text to music for solo voice or instrument. We speak to pianists Darrel Chan and Iau Jo Yee from The Poetics Collective, to find out what's in store.

SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711

The German Romantic author of horror and fantasy published stories which form the basis of Jacques Offenbach's opera The Tales of Hoffmann, the ballet Coppélia and the Nutcracker. In the theatre he worked as a stagehand, decorator, playwright and manager and he wrote his own musical works, his opera Undine ended its run at the Berlin Theatre after a fire. But during his lifetime he also saw Warsaw and Berlin occupied by Napoleon and during the Prussian war against France, he wrote an account of his visit to the battlefields and he became entangled in various legal disputes towards the end of his life. Anne McElvoy is joined by: Joanna Neilly Associate Professor and Fellow and Tutor in German at the University of Oxford. Keith Chapin senior lecturer in music at Cardiff University. Tom Smith a BBC/AHRC New Generation Thinker. He is Senior Lecturer and Head of German at the University of St Andrews. You can find details about performances of Offenbach's works on the website of the society http://offenbachsociety.org.uk/ Producer: Tim Bano

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/israel-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

Eugene Sheppard joins his Brandeis colleague John Plotz to speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism--and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy's bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion.... Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us."  Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book."  Slavoj Zizek makes the case that everything is political including the choice not to have a politics.  Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business")  Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat.  Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Eugene Sheppard joins his Brandeis colleague John Plotz to speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism--and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy's bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion.... Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us."  Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book."  Slavoj Zizek makes the case that everything is political including the choice not to have a politics.  Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business")  Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat.  Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Eugene Sheppard joins his Brandeis colleague John Plotz to speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism--and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy's bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion.... Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us."  Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book."  Slavoj Zizek makes the case that everything is political including the choice not to have a politics.  Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business")  Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat.  Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Eugene Sheppard joins his Brandeis colleague John Plotz to speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism--and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy's bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion.... Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us."  Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book."  Slavoj Zizek makes the case that everything is political including the choice not to have a politics.  Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business")  Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat.  Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Eugene Sheppard joins his Brandeis colleague John Plotz to speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism--and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy's bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion.... Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us."  Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book."  Slavoj Zizek makes the case that everything is political including the choice not to have a politics.  Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business")  Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat.  Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/israel-studies

David Blevins is a nature photographer, author, and ecologist. He combines a sense of wonder with an artistic eye to create images that tell stories about the meaning and significance of the natural world. He received a Ph.D. in forest ecology from the University of British Columbia, as well as M.S. and B.S. degrees in forest science from North Carolina State University. His fourth book, "North Carolina's Barrier Islands," reveals the natural character of barrier islands, the forces that shape them, and the sense of wonder they inspire. His third book, "Wild North Carolina," is a visual journey to the best remaining natural communities across the state. David co-authored his first two books on Boundary Bay while completing his Ph.D (source: blevinsphoto.com)David's talk sponsored by the Fine Arts League of Cary    David Blevins Nature Photographer             January 25, 2023 -  7 – 8:30pm             Cary Arts Center             101 Dry Avenue             Cary, NC 27511             (919) 469-4069David's website: www.blevinsphoto.comFacebook: @davidblevinsphotographyInstagram: @david_blevinsDavid's Artist Recommendations:    Joe McNally - acclaimed photographer    Frans Lanting - acclaimed nature photographer    Caspar David Friedrich - landscape painter, 19th century German Romantic movement Support the show

Another week, another episode in our series of Octobrish delights... this time, we are returning to our bookshelves to pull some inspirational fiction for the more uncanny, eerie, and unsettling side of Changeling: the Dreaming. We're going through 10(-ish) books and story collections that keep us up at night, and seeing how we can translate that into the themes and moods of the game. (This was also kind of an unexpected topic, so we had very little time to prepare, and it shows—apologies!) Some links to our presences elsewhere in the digital realm: Discord: https://discord.gg/SAryjXGm5j Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Patreon: https://www.patreon.com/changelingthepodcast Twitter: https://twitter.com/changelingcast ... the list (this time) Angela Carter, The Bloody Chamber — One of the earlier collections that adapt and modernize fairy tales, Carter's work takes a decidedly feminist approach. Her work was influential on many of the fantasy authors who followed her, and being a literary theorist, she knew what she was about when it came to crafting a darkly fantastic story.Mark Z. Danielewski, House of Leaves — It's a piecemeal text drawing on numerous traditions and formats and histories. It's a retelling of the myth of the Labyrinth and the Minotaur. It's an experiment in surrealist writing. It's a horror story about a house and the family whose children disappear within it. Danielewski's work is always challenging, but the elegant precision of this novel is matched only by the madness lurking under the surface. There is a whole community of die-hard fans who discuss every little connection, hint, and reference (and there are thousands), if you feel like vanishing into an abyss of your own. Neil Gaiman, Coraline — We could have easily gone with The Ocean at the End of the Lane or Mr. Punch or any number of other Gaiman yarns, but this one seemed the Right One to talk about at the intersection of Changeling and creepy-style horror. It's a bit more Lost than Dreaming, maybe, but a pitch-perfect dark faerie tale for modern times. Check out the publisher's page for more information (or go watch the trailer for the film) (or find more about the musical, or the opera, or...)E.T.A. Hoffmann, "The Sandman" and other stories — Hoffmann is a landmark figure in the history of the German Romantic movement, known for his creepy and unsettling literary fairy tales. Freud discussed this tale at length in his essay on the "uncanny," which opens our episode; the text of that essay is freely available here from MIT.Marlon James, Black Leopard, Red Wolf — The most recent entry on this list is also the most epic, perhaps. It's set against the backdrop of African folklore, features a party of misfits in search of a missing boy, and has some of the most nightmarish tableaux ever set to paper in a fantasy novel. It's delightfully queer, shamelessly vulgar, and occasionally shockingly gory... so it fits our brief perfectly for this episode. Read Gautam Bhatia's excellent review in Strange Horizons for more.Stephen King, Misery — This novel fits more into the Autumn People and/or Ravaging and/or Autumn Sidhe Frailty realm of horror, since there are few overt supernatural elements in it. But it's definitely a good example of how even the mundane can become horrific without warning. Again, we could have chosen any number of King writings... except that neither of us has read enough to really make a thorough study of his bibliography, so this one will have to do.China Miéville, King Rat — One part Neverwhere, one part American Gods (though before it was written); one part Changeling, one part Ratkin. Miéville's debut novel explores the gritty underground of London and what one finds there, through the lens of a protagonist that discovers his connection to a pantheon of vermin-gods. It's very 90s with its aesthetics, and centers on solving a murder, and what could be more classic White Wolf than that?Edgar Allen Poe, "The Telltale Heart" and other stories — Not long after Hoffmann's heyday, Poe "invented" the American horror story with his elaborate Gothic treatments of madness, crimes of passion, guilt, and uncertain realities. His work is public domain at this point, so you can read any and all of it through Wikisource, if you've a mind to.William Shakespeare, Macbeth — Who doesn't know a thing or two at this point about the Scottish play? Besides being an epic story that combines political intrigue, high drama, and classical tragedy, the supernatural lurks on the fringes of the narrative as a force of chaos. The tale's mutability is demonstrated by the wide range of adaptations out there—including the recent one starring Denzel Washington—but Pooka would officially like to recommend the clunky madcap offering that is Scotland, PA, where the action is transposed to a suburban fast food joint in the 70s.Patrick Süskind, Perfume — A modern classic that doesn't get much attention on this side of the Atlantic, this "story of a murderer" begins with a simple conceit: a protagonist with a superhuman sense of smell, yet no scent of his own. He becomes a master perfumer, and cultivates an obsession with creating the perfect perfume for himself out of the most beautiful aroma he's encountered—that of teenage virgins. It's a lurid and gruesome work, more clinical than gratuitous, set against the backdrop of pre-revolutionary France. Check out the trailer of the so-so film for an idea of that adaptation; apparently there was a Netflix adaptation recently too? Either way, it's good material for a particularly nasty bogie. Honorable mentions go to Clive Barker and H.P. Lovecraft, but we didn't really have the space to get deeply into them. Another time, perhaps...! ... your hosts Josh Hillerup (any pronoun) has never danced with the devil in the pale moonlight, but once patty-caked with a psychopomp in the murky dusk, which is almost the same thing? Pooka G (any pronoun/they) doesn't miss nightmares about velociraptors and whatnot, but by the same token could do without these anxiety dreams about being awkward at garden parties. 'I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud." —Stephen King

In the mid 19th century, the way to make yourself famous in France as a composer was to write operas. From Cherubini, to Meyerbeer, to Bizet, to Berlioz, to Gounod, to Massenet, to Offenbach, to Saint Saens, to foreign composers who wrote specifically for the Paris Opera like Rossini, Verdi and others, if you wanted to be somebody, especially as a French composer, you wrote operas, and you wrote a lot of them. But one composer in France bucked the trend, and her name was Louise Farrenc. Farrenc never wrote an opera - instead she focused on chamber music, works for solo piano, and three symphonies that were in a firmly Germanic style. Writing in a style that was not en vogue in her home country, along with the obvious gender imbalances of the time, meant that you might expect that Farrenc was completely ignored during her life. But that's not the case. She had a highly successful career as a pianist, a pedagogue, and yes, as a composer too. But after her death, her music was largely forgotten. Bu in the last 15-20 years there has been a concerted effort at bringing Farrenc's music back to life, part of a larger movement to rediscover the work of composers who were unfairly maligned or treated during their lifetimes and after. One of Farrenc's greatest works, and the one we're going to be talking about today, is her 3rd symphony in G Minor. On the surface this is a piece in the mid-to-late German Romantic symphonic tradition, with lots of echoes of Mendelssohn and Schumann, but there's a lot more to it than that. So today on this Patreon sponsored episode, we'll discuss how Farrenc's music fit into French musical life, how a symphony was a still expected to sound in 1847, and of course, this dramatic and powerful symphony that is only now beginning to find its rightful place on stage. Join us!

Scholars of German history, literature and cultural studies have created a long and rich scholarly tradition analysing the adoration of ‘nature' in German Romantic, nationalist, Heimat, youth, and Lebensreform movements. Political scientists have also produced a voluminous literature on the origins and significance of Germany's Green Party and the ‘post-material' values of the post-1968 generation. Germany is also well-known for its commitment to sustainable industrial development, as evidenced by one of Europe's best records in recycling, the regulation of industrial emissions and nature conservation. Yet ‘environmental history', at least this field as understood among its North American practitioners, has remained underdeveloped among German historians until very recently. Franz-Joseph Brüggemeier's pioneering studies of air and water pollution control in the Ruhr area were part of a growing interest in Umweltgeschichte in Germany during the 1980s and early 1990s, but these did not immediately spawn a new generation of imitators. German environmental history has begun to mature rapidly in the first decade of the twenty-first century, however, spurred on by Mark Cioc's The Rhine: An Ecobiography, which introduced readers to a new kind of ‘history from below' in which water, floodplains, forests and fish are active agents of political, economic and social transformation. David Blackbourn's prize-winning The Conquest of Nature, a magisterial survey of river canalization and wetland reclamation from Frederick the Great to the Federal Republic, stands out as one of the most influential books on German history published in 2006. It was the subject of a German Studies Association forum that engaged geographers, historians of technology and German historians in a fruitful conversation. The relationship between ecology, economy and culture remains at the centre of these and other new works, as well as contentious debates about the uncomfortable association between early twentieth-century nature conservation (Naturschutz) and National Socialist Blood and Soil policies, especially in occupied Poland during World War II. German History has invited five scholars to discuss the state of this new field: Dorothee Brantz (Centre for Metropolitan Studies, TU Berlin), Bernhard Gissibl (University of Mannheim), Paul Warde (University of East Anglia, UK), Verena Winiwarter (Klagenfurt University, IFF, Austria, and former President of the European Society for Environmental History), and Thomas Zeller (University of Maryland, USA). Thomas Lekan (University of South Carolina, USA) formulated the questions. --- Send in a voice message: https://anchor.fm/chrisabraham/message

Master Flea by E. T. A. Hoffmann audiobook. Ernst Theodor Wilhelm Hoffmann (1776 – 1822), better known by his pen name E.T.A. Hoffmann (Ernst Theodor Amadeus Hoffmann), was a German Romantic author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. Hoffmann's stories were very influential during the 19th century, and he is one of the major authors of the Romantic movement. He is the subject and hero of Jacques Offenbach's famous but fictional opera The Tales of Hoffmann, and the author of the novelette The Nutcracker and the Mouse King, on which the famous ballet The Nutcracker is based. The ballet Coppelia is based on two other stories that Hoffmann wrote. Also Schumann's Kreisleriana is based on one of Hoffmann's characters. Master Flea was published in 1822.

The German Romantic author of horror and fantasy published stories which form the basis of Jacques Offenbach's opera The Tales of Hoffmann, the ballet Coppélia and the Nutcracker. In the theatre he worked as a stagehand, decorator, playwright and manager and he wrote his own musical works. His opera Undine ended its run at the Berlin Theatre after a fire. During his lifetime he also saw Warsaw and Berlin occupied by Napoleon and during the Prussian war against France, he wrote an account of his visit to the battlefields and he became entangled in various legal disputes towards the end of his life. Anne McElvoy marks 200 years since his death gathering together literary and musical scholars to look at his legacy. Joanna Neilly is Associate Professor and Fellow and Tutor in German at the University of Oxford. Keith Chapin is senior lecturer in music at Cardiff University. Tom Smith is a BBC/AHRC New Generation Thinker. He is Senior Lecturer and Head of German at the University of St Andrews. You can find details about performances of Offenbach's works on the website of the society http://offenbachsociety.org.uk/ Producer: Tim Bano

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Historical Events 1763 Birth of Jean-Paul Friedrich Richter, German Romantic writer. He's remembered for his humorous novels and stories. He once wrote, When one reads a poem in January, it is as lovely as when one goes for a walk in June.   1902 Birth of Harry Lutf Verne Fletcher, ("Luh-tf")(pen names John Garden and John Hereford), Engish writer. Harry wrote many books on gardening. In Purest Pleasure (1948), he wrote, Who has learned to garden who did not at the same time learn to be patient?   1917 Birth of Richard Henry Martin Robinson, gardener and professional horticultural photographer. He was regarded as one of the top gardeners of his generation. In 1955, Richard and his wife, Helen, began creating a spectacular garden at Hyde Hall set on 400 acres and nestled among the prairie wheat fields of Essex. Helen initially started gardening as a way to brighten up the place. Gardening at Hyde was hard. The landscape battles whipping winds and pitiful average yearly rainfalls. In summer, the clay soil is rock hard. In winter, whatever moisture there is, is locked in the suffocating clay. Early on, trees, pines, evergreens, and heathers were installed to provide structure and winter interest. Foxtail lilies and roses added color that the garden so desperately needed. Together, Richard and Helen transformed Hyde Hall into a garden masterpiece. In 1993, nearly forty years after the Robinsons bought Hyde Hall, the garden was gifted to the RHS.   Grow That Garden Library™ Book Recommendation The Essentials of Garden Design by John Brookes This book came out in 2008, and it is a garden classic. John Brookes was a master garden designer who perfected his craft over five decades. And although John passed away in 2018, he is still regarded as one of the significant garden-makers of the late 20th century. John's books (like today's recommendation) continue to inspire and instruct gardeners with simple and timeless wisdom. John always began his design projects with his famous grid system. And in this book, The Essentials of Garden Design, he walks you through that process as well as everything you need - the tools, the techniques, the plants, the building materials - to create a garden that looks like it belongs in the landscape. So whether you're planning a large installation or just something small and functional, you can't go wrong with John as your guide. This book is 192 pages of garden design mastery from a man who firmly believed that gardens were about the people who lived in them. You can get a copy of The Essentials of Garden Design by John Brookes and support the show using the Amazon link in today's show notes for $2.51.   Botanic Spark 1905 Birth of Phyllis McGinley, American poet, and writer of children's books. Her poems were often light-hearted and humorous, offering a clever examination of daily life in the suburbs. In 1961, Phyllis won the Pulitzer prize. She won a Pulitzer prize in 1961 for her book, Times Three, which featured seventy poems written over three decades in the mid-1900s. A gardener, Phyllis once wrote in The Province of the Heart (1959). The trouble with gardening is that it does not remain an avocation.  It becomes an obsession. And here's a little poem Phyllis wrote called Daylight Savings Time. In spring when maple buds are red, We turn the clock an hour ahead; Which means each April that arrives, We lose an hour out of our lives. Who cares? When autumn birds in flocks Fly southward, back we turn the clocks, And so regain a lovely thing That missing hour we lost in spring.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

Synopsis There are several examples in the catalog of German Romantic composer Johannes Brahms, of works that emerged from his pen in contrasting pairs. The most famous being his two concert overtures: the comic and upbeat “Academic Festival Overture,” and the dark, stoic pessimism of his “Tragic Overture.” While composing the jaunty Academic Festival Overture in 1880, to acknowledge an Honorary Doctorate he had received the previous year from the University of Breslau, Brahms felt compelled to write a more serious companion piece. To his friend the publisher Simrock, he wrote: "I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy," To another friend, Carl Reinecke, he wrote, "One weeps, the other laughs." Hans Richter conducted the premiere of the “Tragic” Overture in Vienna on today's date in 1880, and the following month Brahms himself led the premiere of his “Academic Festival” Overture in Breslau. And the new works soon came to the New World: On November 12, 1881, the enterprising Theodore Thomas conducted the New York Philharmonic in the American premiere of the “Tragic” Overture, and one week later, the “Academic Festival” Overture as well with the Brooklyn Philharmonic. Music Played in Today's Program Johannes Brahms (1833–1897) — Academic Festival Overture, Op. 80 (New York Philharmonic; Kurt Masur, cond.) Teldec 77291 Johannes Brahms — Tragic Overture, Op. 81 (Vienna Symphony; Wolfgang Sawallisch, cond.) Philips 438 760

"Lo, How A Rose E'er Blooming" is a reference to Mary, the mother of Jesus. Johannes Brahms was a German composer, pianist, and conductor of the Romantic period. He studied the music of J.S. Bach and used his ideas in his compositions.

Synopsis Two famous pieces of chamber music had their premieres on today's date, both at private readings prior to their first public performances. On today's date in 1842, the German Romantic composer Robert Schumann arranged for a trial reading of his new Piano Quintet in E-flat at the Leipzig home of some of his friends. Schumann's wife, Clara, was supposed to be the pianist on that occasion, but she took ill, and Schumann's friend and fellow-composer Felix Mendelssohn stepped in at the last moment for the informal performance, reading the work at sight. After this preliminary reading, Mendelssohn praised the work, but offered some friendly suggestions concerning part of the trio section in the new work's Scherzo movement, which prompted Schumann to write a livelier replacement movement for the work's first public performance. About 100 years later, on today's date in 1949, a cello sonata by the Soviet composer Sergei Prokofiev received a similar private performance in Moscow, for an invited audience at the House of the Union of Composers. Two of the leading Soviet performers of the day, cellist Mstislav Rostropovich and pianist Sviatoslav Richter, gave the work its first performance. The following spring, it was again Rostropovich and Richter who gave the Sonata its public debut at the Moscow Conservatory. Music Played in Today's Program Robert Schumann (1810–1856) — Piano Quintet in Eb, Op. 44 (Menahem Pressler, piano; Emerson String Quartet) DG 445 848 Sergei Prokofiev (1891–1953) — Cello Sonata, Op. 119 (David Finckel, cello; Wu Han, piano) Artist Led 19901

Allyson Devenish compares recordings of Schumann's Liederkreis, Op 39, and chooses her favourite. Schumann's Liederkreis, Op 39, is considered to be one of the greatest song cycles of the 19th century. Composed in 1840, Liederkreis comprises 12 songs which set poems by the German Romantic poet, Joseph Freiherr von Eichendorff. Together, the 12 songs explore themes of loss, loneliness, nocturnal mystery, ecstasy and reverie. Schumann himself considered the Liederkreis, Op 39 to be the most romantic music he had ever written, and he wrote to his wife that the cycle had 'music of you in it, dearest Clara'. Presented by Kate Molleson

Synopsis In 1967, the Beatles released a song about “a girl with kaleidoscope eyes,” but on today’s date in 1870, it was “a girl with enamel eyes” that was the subject of a ballet that debuted on today’s date at the Paris Opéra. The ballet’s full title was “Coppelia, or the Girl with Enamel Eyes,” and its story-line was based on a fantastic tale by the German Romantic writer E.T.A. Hoffmann, dealing with the mad toymaker Dr. Coppelius, and his uncannily lifelike doll Coppélia, and the complications the beautiful doll causes in the love-life of a small Polish village. The music was provided by a 30-something French composer named Leo Delibes. “Coppelia” was a great success, much to Delibes’ relief. He had been juggling several jobs in Paris, but the new ballet’s financial success allowed him to concentrate on composing as his main career from then on. Delibes followed up on the success of “Coppelia” with another ballet, “Sylvia,” in 1876, and, in 1883, his opera “Lakmé” premiered at the Opéra-Comique. Along with the famous ballets of Tchaikovsky, Delibes’ “Coppelia” is now regarded as the culmination of the 19th century Romantic ballet. Music Played in Today's Program Leo Delibes (1836 –1891) Coppelia Lyons Opera Orchestra; Kent Nagano, cond. Erato 91730

In this episode of 'Classics Unlocked', Graham Abbott explores one of the last of the German Romantic composers, Richard Strauss, who is today remembered primarily for creating stunning works in two genres: orchestral tone poems and operas. Yet Strauss should be remembered just as much for his creation of music in another genre, because he took up the challenge of continuing and developing the German song tradition in a form usually known as Lieder. An extension of the form was the orchestral song, and Strauss composed more than 40 orchestral songs, spanning most of his life.The soloists featured in this episode of Classics Unlocked are:Jessye Normanhttps://uma.lnk.to/AQLglAiIID​Karita Mattilahttps://uma.lnk.to/6thkJvcSID​Christine Schäferhttps://uma.lnk.to/KzUEkJ3CID​Renée Fleminghttps://uma.lnk.to/TaYhiQocID​Lisa Della Casahttps://uma.lnk.to/uAW4T5jTID See acast.com/privacy for privacy and opt-out information.

"Caspar David Friedrich: Nature and the Self" Best known for his atmospheric landscapes featuring contemplative figures silhouetted against night skies and morning mists, Caspar David Friedrich (1774–1840) came of age alongside a German Romantic philosophical movement that saw nature as an organic and interconnected whole. The naturalists in his circle believed that observations about the animal, vegetable, and mineral kingdoms could lead to conclusions about human life. Many of Friedrich’s often-overlooked later paintings reflect his engagement with these philosophical ideas through a focus on isolated shrubs, trees, and rocks. Others revisit earlier compositions or iconographic motifs but subtly metamorphose the previously distinct human figures into the natural landscape. In this revelatory book, Nina Amstutz combines fresh visual analysis with broad interdisciplinary research to investigate the intersection of landscape painting, self-exploration, and the life sciences in Friedrich’s mature work. Drawing connections between the artist’s anthropomorphic landscape forms and contemporary discussions of biology, anatomy, morphology, death, and decomposition, Amstutz brings Friedrich’s work into the larger discourse surrounding art, nature, and life in the 19th century. https://ohc.uoregon.edu

Eileen Grimes welcomes back astrologer and music specialist Michelangelo NA to the Jupiter Rising Show to continue their series of classical composers. This time around, they dissect the music and chart of German Romantic composer Robert Schumann.

Eileen Grimes welcomes back astrologer and music specialist Michelangelo NA to the Jupiter Rising Show to continue their series of classical composers. This time around, they dissect the music and chart of German Romantic composer Robert Schumann.

It might seem odd to think of Max Bruch as a twentieth century composer. After all, his three “Greatest Hits”—his Violin Concerto in G Minor, his “Scottish Fantasy” for violin and orchestra, and his setting of the Hebraic liturgical chant “Kol nidrei” for cello and orchestra -- were all written in the 19th century. But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920. One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today’s date in 1916. The new work was well-received, and its composer praised. But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch’s score for their 1916 performance, unbeknownst to the composer. It wouldn’t be until 1971 that the Concerto was performed as he had actually written it.

It might seem odd to think of Max Bruch as a twentieth century composer. After all, his three “Greatest Hits”—his Violin Concerto in G Minor, his “Scottish Fantasy” for violin and orchestra, and his setting of the Hebraic liturgical chant “Kol nidrei” for cello and orchestra -- were all written in the 19th century. But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920. One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today’s date in 1916. The new work was well-received, and its composer praised. But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch’s score for their 1916 performance, unbeknownst to the composer. It wouldn’t be until 1971 that the Concerto was performed as he had actually written it.

Intro: Welcome to the podcast Coronavirus Crisis: Carpe Diem!, where by God's grace, you and I rise up and embrace the possibilities and opportunities for spiritual and psychological growth in this time of crisis, all grounded in a Catholic worldview.   We are going beyond mere resilience, to rising up to the challenges of this pandemic and becoming even healthier in the natural and the spiritual realms than we were before.  I'm clinical psychologist Peter Malinoski and I am here with you, to be your host and guide.  This podcast is part of Souls and Hearts, our online outreach at soulsandhearts.com, which is all about shoring up our natural foundation for the spiritual life, all about overcoming psychological obstacles to being loved and to loving.   Thank you for being here with me.  This is episode 38, released on October 19, 2020  and it is titled: Seeing the signs of shame in yourself and others.  We are going to understand much more deeply the nature of shame, where shame comes from and how it manifests itself inside of us, and how it is expressed.   We are focusing today on learning more about shame and recognizing it -- recognizing it in ourselves and in others, becoming better able to detect it.      Remember parts of the dynamics of shame include shame remaining hidden, unobserved, unrecognized for what it is.  Shame is tricky, it's slippery, it loves to camouflage itself.  We are in a series of episodes about shame.  In future episodes we will get to how shame affects our spiritual lives and we will also focus on how to heal from shame, how to break out of the vicious shame cycles in which we find ourselves spinning.    So Let's start by Circling back -- review of shame from the last session and then adding some real depth and nuance as we review and expand upon what we covered in the last episode, Episode 37.   Shame is:  The primary problem we have in the natural realm That gives birth to so many secondary problems -- we tend to focus on the secondary problems, the problems that are further downstream -- so we are not getting to the root.   Drawing heavily from Kathy Steele, Suzette Boon, and Otto van Der Hart -- trauma clinicians and researchers who have worked with real clinical population, real people, not just academicians.  Also drawing from Richard Schwartz and Regina Goulding -- Mosaic Mind.    Be open to really learning about this this can be challenging  take what suits you -- can slow way down.  If this is really activating for you, consider psychotherapy -- Souls and Hearts course on how to choose a therapist.   If you can resolve your dysfunctional shame -- have a deep sense of being lovable and loved, by God, others and yourself, you've solved most of your psychological issues on the natural level.   Shame has five dimensions: shame is a primary emotion, shame is a bodily reaction, shame is a signal to us,  shame is an internal self-judgement, and shame is an action -- a verb (review).   Adding today behavioral expression of shame These behavioral expressions of shame are not shame itself, but they are intimately linked with shame and some of the best indicators of unrecognized shame.   Shame is more than most people assume.  We tend to have very limited, very primitive understandings of shame -- very unidimensional.   Let's review the five dimensions of shame.   Shame is a primary emotion -- heartset Primary emotions are those that we feel first, as a first response to a situation. They are unthinking, instinctive, emotions that rise up spontaneously  More nuanced.  Just because you're not feeling shame in the moment does not mean that it's not there.   Consider how a wave of anger feels.  You feel normal, fine, then something happens and there is this intense anger or even rage, and then it passes, the anger goes away again.   That how we typically think of these emotional experience. That how we make sense of them.  But that's not how it is.  That is a dangerous illusion.  A falsehood.  A pipe dream.  The anger didn't just come and go, just like that.  And you know this at some level, because sometimes you ask yourself -- why am I so angry about that little thing, why did something so minor just set me off?  The emotional reaction is disproportionate to the trivial event.     A wave of shame -- feels like it wasn't there, and then something happened, like a negative review from your boss it was there in all its intensity and you're just trying to hold it together through the rest of your performance review, and then the shame passes and you're not feeling it anymore.  If I don't feel it, it's not there.  Seems reasonable, right? But what if, what if that wasn't what really happened.  What if the same amount of shame was within you the whole time -- it was just latent, outside of awareness.  And rather than the shame coming and then going, what if it was your awareness of your shame and anger that changed.   What if you at first where disconnected from your shame out of touch with it.  Then your defenses were overrun and you were overwhelmed with shame, and then your defenses were able to come back online and you no longer felt the shame. What if the intense shame was there the whole time?   That's a whole different model  Let's say that you were disconnected from unresolved shame.   A high level of shame or anger can endure within us and be intensely felt only on rare occasions when our defenses open up, when they dilate and we can see and feel the shame or anger.  In other words, all that anger or shame generally resides in the unconscious.   Unconscious The term was coined by the 18th-century German Romantic philosopher Friedrich Schelling  --  Schelling suggests that there are two principles in us: “an unconscious, dark principle and a conscious principle”  later introduced into English by the poet and essayist Samuel Taylor Coleridge 1797, who read the 18th century German idealists. Freud.  Unconscious  Mind is like an iceberg  10% above the water -- visible -- that is consciousness -- what we are aware of in the moment.  The vast majority of the iceberg is below the water, outside awareness  -- what you sense is what you get.   In North America, we largely don't act as if we believe in the unconscious.   I think all of us, because of original sin, the sins of others, our own personal sins, the fallen world we live in and our fallen natures -- we have deep reservoirs of shame.  We know we need redemption.  We can sense it at a primal level, and we have ways of distracting ourselves from that reality, from defending ourselves from that reality.   Richard Schwartz on parts -- we are not just single unitary personalities  Understanding Parts  Separate mental systems each with their own Emotions  Expressive style  Abilities  Roles in the system of the person  God images   Can think of them as modes of operating, subpersonalities, ego states, inner children Parts get forced into extreme roles due to attachment injuries, trauma to protect us from being overwhelmed e.g. with rage, despair, shame.   Parts also can be trapped back in time.  e.g. flashbacks -- where we are back in the shameful experience frontal cortex goes offline  Leaving parietal, cortex basal ganglia, cerebellum and hippocampus  Exiled Parts are the modern lepers, tax collectors and prostitutes -- the undesirables, because of the burdens  they carry -- e.g. shame, anger, depression, anxiety, etc.   Protector parts work hard to protect you from your exiled parts -- e.g. from being overwhelmed.   So certain parts of us -- parts of us that are exiled -- carry the shame.  And our internal systems get organized to hide our shame in the unconscious, to distance ourselves from shame so that we won't be overwhelmed by it and so we can continue to function   If we didn't have a way to manage the shame it would continually overwhelm us.  Or the rage or despair or the fear. Shame as a judgment  -- a judgment of who I am.   a critical perspective of myself, a very negative attitude toward myself.    -- mindset A judgement about who I really am from the perspective of a critical, rejecting other.  I look at myself through  the eyes of critical, angry or disappointed other, often my mom or dad, daycare worker, teacher or other caregiver.   But we have internalized it.  We've take it inside.  Now a part of us plays the role of the external critical person  This parts of me repeat messages I've picked up from important others: I am a burden.   I am too needy, too dependent, I bring other people down and make them suffer  I don't deserve attention and care.   Alcohol, TV and the newspaper are more important than me.   May no longer the case, no longer accurate.  Anachronistic, no longer applies.  No longer in second grade.   But these judgments are held by the judging parts of me that are trying to protect me from my own shame, from the shame-bearing parts carry the emotional aspects of shame -- a shame-filled heartset, but also the cognitive aspects of shame -- a shame-filled mindset.   And because the emotional and cognitive dimension of shame are so threatening, the parts are banished, they are driven out of awareness into exile in the unconscious.  But they are not gone.  They are just silenced for the moment.      Shame is a bodily reaction -- automatic, involuntary bodily response:  Bodyset Charles Darwin  1872 published a book "The Expression of the Emotions in Man and Animals" Darwin described shame the following bodily reactions:  blushing (vasodilation in face), confusion of mind, downward cast eyes, slack posture, and lowered head -- Crying -- which can exacerbate shame   When exiled parts that are burden with shame break through into conscious awareness, they can overwhelm us with their distress that then takes over our bodies.  This is like in the Pixar movie Inside Out when the very thin purple Fear character takes over the control panel and dominates everything in the main character Riley.  Window of tolerance the zone of arousal in which a person is able to function most effectively -- when we are feeling intense shame, we get yanked out this window of tolerance.   Hyperarousal -- this is where our sympathetic nervous system revs us up, gets into fight or flight mode in response to shame Heart starts racing  Breathing quickens  Pupils dilate  Blood rushes to arms and legs  Face can flush red  Get ready to defend ourselves or attack or run away  Hypoarousal, when the parasympathetic nervous system shuts us down -- freeze response, like a deer in the headlights We disengage socially  Want to disappear, hide, camouflage ourselves.  Shut down.  Numb out.  Dissociate  Lowering of the head  Breaking off eye contact  Tightening up of muscles, curling up in a ball (spine) -- hunching to protect vital organs.  Making one's body smaller, less visible  Feeling like ice water in the veins, cold freezing sensation  Fluttering in belly.   These bodily reactions are not under voluntary control.  Ever tried not to blush?  Didn't it just make it worse when you couldn't stop it?  Even though you wanted to play it cool.  you just kept getting redder and redder, which led to a more intense shame response.   Shame is a signal.  Functions of Shame  This often gets missed.  The upside of shame.  Why it exists.  Shame is a signal that there is a lack of attunement or an even more serious threat in one or more of our important relationships.  It has important function Shame functions as a "social threat detector" that signals us to modify or avoid behaviors that will cause us to be rejected by those we need.   Then the shame response to the shame signal occurs.  Shame signal leads to the shame response -- the shame response inhibits emotions, thoughts, sensations, beliefs or behaviors that are perceived as unacceptable to powerful others who we need.  So Shame is a survival mechanism.  It helps save us from potential terrible consequences. Inhibition -- family in church -- lots of little kids, all perfectly dressed, all perfectly behaved, parents beaming in response to getting complements about their little angels, so well behaved.  Parents may have put the fear of God into the children to keep them still.  Inhibitory function of shame -- not wanting to displease God, not wanting to displease the parents who may have parts that are very overinvested in the public impressions their family makes on the parish community.   Shame as action  -- a verb -- “shaming” is an action that is intended to cause someone else to feel inadequate, worthless, unlovable, a loser, etc.  for being or doing something that the shamer feels is wrong or undesirable. It is a quick way to control another person, especially one in a dependent positions  It is a quick way for us to control ourselves.  Part of us is forced into the role of shamer to anticipate consequences.  E.g. rambunctious boy on Saturday morning -- hung over mother cussing him out from the top of the stairs to shut up and let her sleep.  If a part of that body takes on the shaming function and whenever he starts getting boisterous, tells him to shut up and be good and stop being such a noisy pain in the rear end, he can save himself the verbal backlash and maybe even worse from his alcoholic mom.  It's a way of managing an extremely difficult situation.  Qualities of shame Shame is hidden.  Hidden from others, hidden from God, often hidden from the therapist, hidden from self.  Hidden in the unconcious, carried by our exiled parts, which are like lepers.  Not allowed into the community for fear of a contagion of shame, shame taking over.   Disappear, hide, camouflage     Shame inhibits positive emotions   How shame is expressed -- going into Behavioral Expressions of Shame What to look for in yourself and others -- clues that shame is lurking, hidden, even if you don't feel it.  We may need to infer it.   Therapists particularly need to know this information.  So much shame is missed by therapists -- lots of reasons for that.   Shame is hard to measure -- the more important a phenomenon is, the harder it is to quantify, to measure.   2017 Journal of Child and Family Studies A New Measure of the Expression of Shame: The Shame Code  Canadian researchers Kalee De France, Dianna Lanteigne, Jenny Glozman & Tom Hollenstein  shame has predominantly been measured by self-report questionnaires, which typically capture trait shame or shame proneness unable to capture the experience of shame as it occurs and is observed by others  Shame does not have a canonical facial expression, however, some facial and behavioral expressions that may be indicative of the experience of shame have been identified.  shrunken or compressed posture that includes body tension, dropped shoulders, or lowered head in a manner akin to a “hang-dog” look  These submissive displays can be seen as social signals of appeasement, and attempts to reduce social conflict or scrutiny  they tend to evoke cooperative behavior from others, and are associated with less punitive responses shame can be identified by tension in the facial muscles turning down the corners of their mouth -- frowning   tucking their lower lip between their teeth  pursed lips smiling while experiencing shame may not appear genuine (i.e., non-Duchenne smile) indicating a false expression of positivity   the key difference between this “real” happy smile and a “fake” happy smile lies in the orbicularis oculi – muscles that wrap around the eyes. All smiles require a contraction of the zygomatic major muscles, the muscles that lift the corners of the mouth. A real smile, a Duchenne smile adds the eyes.  The skin around the eyes wrinkles into crows' feet by the tightening of the orbicularis oculi muscles. embarrassed smile, a smile accompanied by gaze aversion, or a nervous smile another appeasement behavior, where the individual experiencing shame attempts to placate the observer and avoid judgment or punitive behavior.  gaze aversion or hiding one's face -- attempt to hide.  not seeking to contest resources or escalate conflict Speech Patterns verbal uncertainty -- hemming, hawing  such as stammering  long pauses  Going silent   tendency to withdraw, such as disengaging from the emotional trigger Freezing halting behavior or remaining rigidly still distracting oneself through fidgeting “manipulations of one's own body parts or objects, such actions being peripheral or non-central to ongoing events or tasks” (Mehravian & Friedman, 2006, p. 406)   Strategies for coping with shame Nathanson (1992, 1997)  Four defensive scripts for avoiding shame:  Attack Self, Attack others, Isolate self, Avoid inner experience  Attack self  -- part of you accepts the mindset of shame, the beliefs --  I am inadequate, I am a loser, stupid, incompetent, fat  --  it's safer to turn the anger and disgust inward. When you mix anger and disgust you get contempt, which is the most corrosive emotion in relationship, including our relationship with ourselves.  If you want to ruin a relationship, there is nothing better than a contemptuous attitude  In attacking the self, the shame may not be felt at all -- rather it's just assumed that I am worthless, no good, evil  -- not even possible to say "I feel ashamed" -- there is just the attack on the shame-bearing part.   Attacking others first -- this one is often counterintuitive.  Stay with me here. This is when one of your protector parts, in order to shield you from your own shame, attacks another person.  You are not the problem -- the other person is.  Anger and disgust are directed away from the self toward blaming and shaming another person in order to salvage your own sense of self-worth.  You externalize the shame, you project it on someone else.   Wants you to not know about the underlying shame -- and doesn't want anyone else to see your shame either.   If the other person is feeling the shame, is getting overwhelmed by their own shame, then the shame is there and not in you.  The other person is inferior and you are superior -- the other person has the shame problem not you.  And these shaming parts are driven by shame that they are totally unaware of.   Lot of marital conflict stems from shame and shaming.  Lots of it.  The primary problem.   Number one issue in aggressive, pushing people who cut others down -- bullies, intimidators, tough guys, gaslighters, manipulators -- it's a part of a person who is desperately trying to ward off shame.  .  That doesn't make it all right.  That doesn't make it not sinful.   Isolate from others  part of you accepts the message of shame and believes it.  And feels terrible and hides.  No desire to be exposed, to be vulnerable to more ridicule, more shaming.  Just hiding.  Like Adam and Eve in Genesis 3, after eating the forbidden fruit.  Lots of anxiety and fear.  See how anxiety and fear are secondary emotions to the shame?  They flow from the shame.  So many problematic emotions have shame at their root, at their core, but shame is so tricky, the other emotions seem to be the problem.   Avoid social situation Limit relational interactions Withdraw Look at others with dread.   Avoid inner experiences Denial  Dissociation -- disconnection  Numbing  Depersonalization or derealization  Attempts to distract self -- TV, movies, alcohol, sex, binge eating, obsessions, hyperactivity, dissociation, manic episodes, incessant humor or joking, changing the subject when the conversation pulls for looking inward, focusing on the other person, excessive caregiving with no self-care, compulsive do-gooding  also spiritual bypassing -- a flight into spiritual practices to avoid dealing with your inner experiences -- lots of litanies and prayer cards and holy hours and lectio divina, but with a driven quality to it, a rigidity, a nearly exclusive outward focus.  Little or no awareness of shame, or shameful actions, reactions, faults or negative characteristics.   We will get to working with shame -- much more constructively, how do we do that?  It's coming. I will be giving you strategies for working with shame in upcoming podcasts.   Can't rush it.  There's often a strong impulse to rush through working with shame.  We'll also get into the spiritual impact of shame.  Soulset  For example, if you have a part who feels unloved and unlovable -- how do you think that part would understand God?  Would it see God as loving and caring if it has been shut off from love?  What about your parts that have been shamed by important others and by other parts of you?  How would they see God?  How does your internal critic, you know that voice that has running commentary about your faults and failings, exacerbating shame -- how does that part see God? What God images do these parts have?  How Satan uses your shame against you?  Remember, grace perfects nature, and it makes sense for Satan to attack at the weak points in your natural foundation.  We will get into those issues as well as the relationship between shame and pride.  All here at the Coronavirus crisis Carpe Diem podcast, where harmonize the best of psychology with the Truths of our Catholic Faith. Let others know about this podcast. Who do you know that might be suffering from shame?  Reach out -- send them a link.  Soulsandhearts.com   Spotify, Apple Podcasts, Google Play.  Get the word out.  Whole series on shame -- going far more in depth than most people every comprehend.  All from a Catholic perspective.   Bonus Podcast on Sex difference in shame.  This is getting long.  How are men and women different.  That is available to our Resilient Catholic Carpe Diem community.   RCCD community:  Example past Zoom meeting  October 14 a guided meditation to help you locate a part of you that feels unloved and unlovable and to reach out with care and gentleness to that part -- how to work with parts that carry the burden of shame.  -- Very positive response to that experience, RCCD members really getting in touch with parts that feel unlovable and carry the burden of shame.  It's not that hard for many people to reach out to these parts of themselves and really be with them.  Seek and ye shall find.    recorded the introduction and the meditation sections of this so RCCD community members can do it on their own.  Building a whole library of different exercises and techniques to help you.  Example: Office hours -- we will be discussing shame in zoom office hours on October 21 from 7:30 PM to 8:30 PM Eastern -- free for RCCD members.  Going in to the concepts of this podcast.  Lively Q&A.   Place to get questions answered -- but we won't be getting into any individual issues there. $25 per month Temporarily halting admission to the RCCD community November 3 – less than a month away  -- won't reopen until sometime next year, in 2021 lock in prices for all of 2021.   Go to soulsandhearts.com, click on the tab that says all courses and shows and register for the Resilient Catholics Carpe Diem Community.   Pray for me.  I will pray for you. Patroness and Patron

The Damnation of Faust (La damnation de Faust) is a work by 19th-century French composer Hector Berlioz for four solo voices, chorus, children’s chorus, and orchestra based on German Romantic poet Johann Wolfgang von Goethe’s Faust.Santiago del Estero is a province and city in northern Argentina.Lima is the capital and largest city of Peru.Carlos Gardel was a French Argentine singer notable for his tango compositions and hundreds of recordings of tango pieces.Loons are aquatic birds found in North America and northern Eurasia.The Peruvian panpipe (Andean panpipe or siku) is a traditional flute-like instrument associated with music from the Qullasuyu region of the Andean Mountains of South America.Ella Fitzgerald was one of the best-known American jazz singers of the 20th century.Frank Sinatra was an American singer and actor who is one of the best-selling musicians of all time.Fred Astaire was an American dancer, singer, actor, and choreographer most noted for work in film and television.Gene Kelly was an American actor, dancer, and director known for his lead roles in Singin’ in the Rain and An American in Paris.Located near Lincoln Center in New York City, LaGuardia High School is a public magnet high school focusing in the visual and performing arts.Marilyn Horne is an American mezzo-soprano and music pedagogue.Matthew Epstein is a prominent artistic advisor and artist manager within the opera community.Der Rosenkavalier is a frequently performed comic opera by German composer Richard Strauss.A pants role (or trouser role) is a character which is performed by a woman in traditionally masculine clothing. Some examples of these roles include Cherubino from W.A. Mozart’s The Marriage of Figaro and Count Ottavio from Richard Strauss’s Der Rosenkavalier.Dorabella is a principle soprano role from W.A. Mozart’s comic opera Così fan tutte.Marnie is an opera by contemporary American composer Nico Muhly based on Winston Graham’s 1961 novel by the same name. Notably, Alfred Hitchcock directed a film adaptation of the same novel. Leonard performed the title role in the U.S. premiere of the operatic adaptation at the Metropolitan Opera in 2018.Coal Mountain is an opera by contemporary American composer Jennifer Higdon surrounding the American Civil War.The Fach system is a method of categorizing singers’ voices into specific “types.” Not all musicians agree with every aspect of the system, however it is a commonly used tool for understanding the range, weight, and color of a singer’s voice.Rosina is a principle soprano role in Gioachino Rossini’s comic opera The Barber of Seville. Leonard will perform this role in Cincinnati Opera’s 2021 Summer Festival.Edith Bers was a member of the voice faculty at The Julliard School.White Fragility is a book by Robin DiAngelo about systemic racism in the United States.Trevor Noah is a South African comedian and political commentator known for being the current host of the satirical The Daily Show.The Hardy Boys is a series of mystery novels for children written under the name Franklin W. Dixon.Schitt’s Creek is an acclaimed Canadian television sitcom.

Jeanine and Tobias have recently watched the movie "Undine", a very ambitious artistic movie with lots of hints on the German Romantic movement. The fairytale-like flic puts a water nymph into our modern society. A curse forbids Undine's boyfriend to leave her, otherwise, he would be killed. The story unfolds with dramatic underwater imagery. Both found this movie to be inspiring but also identified some plotholes and implausibilities. Afterwards, the two share their observations on the current Corona situation in Western Germany. --- Send in a voice message: https://anchor.fm/jeenias/message

This week I am joined by Mississippi State University Ph.D. candidate Michael Adams. Michael is an intellectual historian who studies the intellectual roots of Nazi Germany’s attempted colonization of Eastern Europe and the concentration camp system. We talk about how German Romantic Nationalism evolved into the ruinous ideology of National Socialism. We also discuss the links between colonialism and the German conquest of Eastern Europe. A fascinating discussion.

Kevin and Tony continue broadcasting from self-quarantine / poorly developed social skills, Kevin in the sewer system beneath the dripping streets of Lower Heights, and Tony in his bunker, with only arrow slits for light and air (and shooting arrows through). These are the perfect locales to discuss whether it’s okay for people to be evil if people are just following their true natures. Why not? Certainly perhaps the Men in Charge characters sometimes do. For instance, in “Disgruntled Belgian Talk Radio,” Didier mentors a trainee engineer at Jamie the Engineer’s expense. And in “Heaving Bosoms,” the Crone at last gives birth, and Grantley Ridgely, not a midwife, is made to act as a midwife. Finally, in “Johnny Hambone, Library Bouncer,” Johnny accepts a work release assignment to protect Big Nell from vengeful suburban women. He’ll use up whatever of his true nature 19th century German Romantic philosophers have allowed him to keep…

Dave and Joel discuss Terrance Malick's A Hidden Life, a film recounting Franz Jägerstätter's journey towards martyrdom as he refuses to swear loyalty to Hitler. What can this film teach us about the nature of Christian witness during a time of dehumanising and demonic oppression? How can nature itself provide the spiritual resources necessary to resist a wicked juridical order? Join us as Dave gets all German Romantic on us and Joel yearns for the next Marvel movie.

Lucasta Miller is a writer fascinated by the Romantic, and the dark excesses of the Gothic. Her latest subject is a poet, Letitia Landon, whose life was scandalous and whose sudden death is like a scene from a detective novel. In her day, Landon was an icon, hailed as a “female Byron” – and a favourite of the Brontë sisters, who were the subject of Lucasta Miller’s previous book. Both biographies were years in the making, partly because they involved such meticulous research, partly because Lucasta Miller was at the same time writing journalism, editing books, teaching English to refugees, bringing up children and generally holding together a household, the other half of which is the singer Ian Bostridge. In Private Passions, Lucasta Miller talks to Michael Berkeley about her lasting obsession with the gothic, and about the dark secrets concealed in Letitia Landon’s life. The theme of dark secrets takes her to the first German Romantic opera, Weber’s Der Freischütz, and the terrifying Wolf’s Glen. She discusses too what biographers can bring to our understanding of music and chooses a song by Clara Schumann, written just as she was on the point of marriage to Robert. And in relation to her own husband, Lucasta talks honestly about how difficult the life of a professional musician is, both for them and for their family at home. Does husband Ian Bostridge make it onto the playlist? As she says, she felt she was damned if she chose him, damned if she didn’t. So she does include him in the end, singing a lyrical song by Hans-Werner Henze which was written for Bostridge. Other musical choices include Maria Callas singing from Bellini’s Norma, and the Bach cello suites played by Stephen Isserlis. A Loftus production for BBC Radio 3 Produced by Elizabeth Burke

We're two weeks away from Season 5 of Sticky Notes! This week, we look back at Mendelssohn's most popular symphony, the Italian! We discuss Mendelssohn's love of nature, the the remarkable independence and variety that Mendelssohn achieves within a tightly knit German Romantic era symphony. This symphony is like flipping through a photo album of Mendelssohn's Grand Tour of Italy, and we explore how he was able to create such a distinct picture in each movement. Thanks for listening!

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we take a trip to Italy, exploring Mendelssohn's most popular symphony. We discuss Mendelssohn's love of nature, and the remarkable independence and variety that Mendelssohn achieves within a tightly knit German Romantic era symphony. This symphony is like flipping through a photo album of Mendelssohn's Grand Tour of Italy, so we explore how he was able to create such a distinct picture in each movement, while also discussing the extensive revisions that Mendelssohn attempted on the symphony.

Professor Karen Leeder and Professor Robert Vilain explore the great German Romantic poetry which inspired Beethoven throughout his life from Schiller's Ode to Joy to Goethe's Egmont and Treitschke's Fidelio.Recorded in front of an audience at the Royal College of Music

Five Essays about the 19th-century German composer Johannes Brahms. Part 2 of 5.Recorded in front of an audience at St. Georges, Bristol, as part of BBC Radio 3's Brahms Experience - a week-long exploration of Brahms' life and music.Interaction with nature is one of the cornerstones of 19th-century Romantic music. Writer Lesley Chamberlain offers a chance to join Brahms for a creative ramble and sets his work in the climate of German ideas about nature.In the German Romantic tradition Nature is Art's rival and the artist's consolation. Brahms' love of nature, which came to him in hours of shared and solitary walking, intensified the demands he made on himself as a composer.Producer: Melvin Rickarby.

Hockney is exhibited at the Royal Academy and German Romantic drawings can be viewed at the British Museum. ’ Shape Diamonds’ – a project running trips put for disabled people will be visiting both. Contact diamonds@shapearts.org.uk or 020 74247348. Camden Calling will be at The Enterprise in Chalk Farm Road for Urban open mic hosted by Gizmo featuring our very own DJ Rudeboy P. Tosh as guest DJ. Nada Surf and Turbowolf are at Camden High Street’s Koko this week are. Alternative rock with classical at Great Portland Street, The Roundhouse hosts- Rising Showcase with Miss Brat. ‘Young Adult’ is the new film to see. The are two good plays at the Etcetera Theatre – ‘Three of Hearts’ and ‘Lift’. Read by: Ann Carroll, Darryll McKay, Jayson Mansaray & Martin Lim Recorded by: Darryll McKay Edited by: Marian Larragy British Mueum :: Royal Academy of Arts :: Shape Hearts :: Koko :: Etcetera :: Round House Rising :: Camden Calling :: Young Adult :: 229 Great Portland Street :: Back to Camden Community Radio :: File Download (7:42 min / 7 MB)

Donald Macleod explores the life and work of German Romantic composer and conductor Max Bruch

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

‘The flood in the Darling 1890’ is one of several ambitious canvases painted by WC Piguenit in response to the devastating rains that inundated the western region of New South Wales in 1890. It reflects his respect for the terrifying yet sublime power of nature so admired by exponents of 19th-century German Romantic painting. The largest flood recorded since 1864, waters broke the embankment and submerged the remote township of Bourke – an event Piguenit witnessed first hand. However, rather than depicting the destroyed buildings and railway lines, and the loss of livestock and human life, he has rendered the calm after the deluge. A vast expanse of sky, land and water is rendered as a symphonic celebration, with billowing purplish-hued clouds reflected across a vast glistening expanse reaching towards the viewer – ibises the only living creatures populating the tranquil landscape. Son of a convict transported to Van Diemen’s Land in 1830, William Charles Piguenit is often credited as the first Australian-born professional artist. Raised and schooled in Hobart, he spent 22 years working in the Department of Lands survey office as a draughtsman. Although he received rudimentary instruction in painting, he was largely self taught. After leaving the survey office in 1872, he began making sketching and photography trips to remote and spectacular regions in the Tasmanian wilderness. He achieved early success through public patronage when he exhibited his works in the annual Sydney and Melbourne academy shows. His striking ‘Mount Olympus, Lake St Clair, Tasmania, source of the Derwent’ was the first work by an Australian-born artist to be acquired, in 1875, by the Art Gallery of New South Wales. That same year, Piguenit joined an artists and photographers camp in the Grose Valley in the Blue Mountains. By 1880 Piguenit had settled in Sydney with his family. Continued patronage by the Gallery enabled him to tour New South Wales and Tasmania, providing fresh inspiration for his grand, sweeping landscapes and measured studies of the natural environment. Piguenit continued his successful career well into the 20th century, including the completion, in 1903, of the commanding ‘Mount Kosciusko’ which was commissioned by the trustees of this Gallery; the majestic depiction of the continent’s highest peak marking the enormity of the Federation of Australia in 1901.

'The flood in the Darling 1890' is one of several ambitious canvases painted by WC Piguenit in response to the devastating rains that inundated the western region of New South Wales in 1890. It reflects his respect for the terrifying yet sublime power of nature so admired by exponents of 19th-century German Romantic painting. The largest flood recorded since 1864, waters broke the embankment and submerged the remote township of Bourke – an event Piguenit witnessed first hand. However, rather than depicting the destroyed buildings and railway lines, and the loss of livestock and human life, he has rendered the calm after the deluge. A vast expanse of sky, land and water is rendered as a symphonic celebration, with billowing purplish-hued clouds reflected across a vast glistening expanse reaching towards the viewer – ibises the only living creatures populating the tranquil landscape. Son of a convict transported to Van Diemen's Land in 1830, William Charles Piguenit was raised and schooled in Hobart, and spent 22 years working in the Department of Lands survey office as a draughtsman. Although he received rudimentary instruction in painting, he was largely self taught. After leaving the survey office in 1872, he began making sketching and photography trips to remote and spectacular regions in the Tasmanian wilderness. He achieved early success through public patronage when he exhibited his works in the annual Sydney and Melbourne academy shows. His striking 'Mount Olympus, Lake St Clair, Tasmania, source of the Derwent' was the first work by an Australian-born artist to be acquired, in 1875, by the Art Gallery of New South Wales. That same year, Piguenit joined an artists and photographers camp in the Grose Valley in the Blue Mountains. By 1880 Piguenit had settled in Sydney with his family. Continued patronage by the Gallery enabled him to tour New South Wales and Tasmania, providing fresh inspiration for his grand, sweeping landscapes and measured studies of the natural environment. Piguenit continued his successful career well into the 20th century, including the completion, in 1903, of the commanding 'Mount Kosciusko' which was commissioned by the trustees of this Gallery; the majestic depiction of the continent’s highest peak marking the enormity of the Federation of Australia in 1901.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'The flood in the Darling 1890' is one of several ambitious canvases painted by WC Piguenit in response to the devastating rains that inundated the western region of New South Wales in 1890. It reflects his respect for the terrifying yet sublime power of nature so admired by exponents of 19th-century German Romantic painting. The largest flood recorded since 1864, waters broke the embankment and submerged the remote township of Bourke – an event Piguenit witnessed first hand. However, rather than depicting the destroyed buildings and railway lines, and the loss of livestock and human life, he has rendered the calm after the deluge. A vast expanse of sky, land and water is rendered as a symphonic celebration, with billowing purplish-hued clouds reflected across a vast glistening expanse reaching towards the viewer – ibises the only living creatures populating the tranquil landscape. Son of a convict transported to Van Diemen's Land in 1830, William Charles Piguenit was raised and schooled in Hobart, and spent 22 years working in the Department of Lands survey office as a draughtsman. Although he received rudimentary instruction in painting, he was largely self taught. After leaving the survey office in 1872, he began making sketching and photography trips to remote and spectacular regions in the Tasmanian wilderness. He achieved early success through public patronage when he exhibited his works in the annual Sydney and Melbourne academy shows. His striking 'Mount Olympus, Lake St Clair, Tasmania, source of the Derwent' was the first work by an Australian-born artist to be acquired, in 1875, by the Art Gallery of New South Wales. That same year, Piguenit joined an artists and photographers camp in the Grose Valley in the Blue Mountains. By 1880 Piguenit had settled in Sydney with his family. Continued patronage by the Gallery enabled him to tour New South Wales and Tasmania, providing fresh inspiration for his grand, sweeping landscapes and measured studies of the natural environment. Piguenit continued his successful career well into the 20th century, including the completion, in 1903, of the commanding 'Mount Kosciusko' which was commissioned by the trustees of this Gallery; the majestic depiction of the continent’s highest peak marking the enormity of the Federation of Australia in 1901.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

Bach: Brandenburg Concerto No. 6 in B-flat Major, BWV 1051Schumann: Dichterliebe, Op. 48Perhaps Bach’s best-known orchestral works, the Brandenburg concertos are performed often in concert, but this final concerto is not quite as famous as some of its predecessors. Bach chooses a mellow instrumentation for this concerto—all low strings, from viola down to cello and violone, an early bass instrument. But even with the unusual instrumentation, the piece is still signature Bach, with wonderful counterpoint, dance rhythms and variations. Next is Schumann’s famous song cycle “Dichterliebe.” In typical German Romantic fashion, the topic at hand is love, in this case the love of a poet. Our poet starts out optimistic, if not entirely secure, in the first song. But as the cycle progresses, the narrator becomes increasingly disenchanted, going from denial to overt sorrow in the final song, in which he longs to bury his songs, his dreams and his love.

Music 271: 2/21/07II: German Opera: (Bonds p. 469) A: From Mozart to Weber • Early German operas had Italian texts (Mozart and Haydn) • Mozart composed 2 Germanic operas (Abduction from the Seraglio (1782) & The Magic flute (1791)) • Beethoven’s Fidelio (1814) B: Karl Maria von Weber: Biographical Sketch • Born in 1786 and died in 1826 • Composed 3 Operas (Euryanthe (1823) & Oberon (1826)) • Known for instrumental music as well • Was primarily a conductor in Prague and Dresden C: Der Freischütz: The First German Romantic Opera • Completed in 1820, 1st performed in 1821 1. Romantic Elements (GB p. 58) • Conflict between good and evil - Good prevails • Role of Nature • Supernatural elements • Redemption of the hero by the heroine’s prayers and self-sacrifice 2. Sources of Unity • How to transform the opera into something more • For the first time, his overture was based around the themes of the 2 main characters • Use of orchestration to portray symbols (Horns = hunting) • CM = Good Cm = Evil • Post WWII Hollywood scores used the German Romantic opera soundIII: Richard Wagner - Part I: (Bonds p. 482-82) • Born 1813 • Wagner’s operatic influence was greatest • He was a primarily an opera composers • Wrote a treatise concerning opera and it flaws, as well as his list of reforms • Post-Romantic period 1850-WWI (1914) • “Instrumental music cannot paint pictures” • Believed that he was superior to all of humanity • Also believed that operas before him never attained a sense of unity “The elements of Wagnerian Music Drama” (Bonds p. 469-481) • The idea of the Gesamtkunstwerk • Drama as “Deeds of Music Made Visible” • The Leitmotiv • The relationship of voice and orchestra • The Structure of the Dramatic Text • Endless Melody