Muses and Patrons
Author | : Jakob Danneskiold-Samsøe |
Publisher | : |
Total Pages | : 524 |
Release | : 2004 |
Genre | : Philosophy |
ISBN | : |
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Author | : Jakob Danneskiold-Samsøe |
Publisher | : |
Total Pages | : 524 |
Release | : 2004 |
Genre | : Philosophy |
ISBN | : |
Author | : Geoffrey Curgenven Bolton |
Publisher | : |
Total Pages | : 20 |
Release | : 1996 |
Genre | : Art and state |
ISBN | : |
Author | : Geoffrey Curgenven Bolton |
Publisher | : |
Total Pages | : 20 |
Release | : 1996 |
Genre | : Music patronage |
ISBN | : |
Author | : Columbian centinel, Boston |
Publisher | : |
Total Pages | : 24 |
Release | : 1828 |
Genre | : |
ISBN | : |
Author | : Penny McCarthy |
Publisher | : |
Total Pages | : 424 |
Release | : 1997 |
Genre | : English poetry |
ISBN | : |
Author | : Penelope Murray |
Publisher | : |
Total Pages | : 468 |
Release | : 2004 |
Genre | : History |
ISBN | : 9780199242399 |
What was the role of mousike in Greek life? Broader in its implications than the English "music," mousike, the realm of the Muses, lay at the heart of Greek culture. Yet, despite its centrality, its social and intellectual implications have rarely been investigated. In these new and specially commissioned essays leading experts analyze the political, religious, and ethical significance of musical performance in the classical Athenian city, and open up a new field of investigation in cultural history.
Author | : Todd Compton |
Publisher | : Harvard University Press |
Total Pages | : 460 |
Release | : 2006 |
Genre | : History |
ISBN | : |
This book probes the narratives of poets who are exiled, tried or executed for their satire. It views the scapegoat as a group's dominant warrior, sent out to confront predators or besieging forces. Both poets and warriors specialize in madness and aggression and are necessary, yet dangerous, to society.
Author | : David M. Glixon |
Publisher | : |
Total Pages | : 192 |
Release | : 2006-10-01 |
Genre | : Art and society |
ISBN | : 9781420883077 |
In the development of artistic genius the part played by "inspiration" is enigmatic. To be sure, Terpsichore, Calliope, and their seven sisters remain potent muses indeed; however, no artist--no sculptor, painter, writer, composer, or choreographer--will deny the crucial importance of the impetus that can be provided by the tenth muse, the Muse of Gold. From "the glory that was Greece and the grandeur that was Rome" to the cathedrals of France and the skyscrapers of Kuala Lumpur, architects have shaped the structures and were paid for their creative labors. That has been the obvious and essential financial arrangement in every branch of the arts. In earlier times the creators were usually anonymous; later they acquired personal recognition and fame. Either way, they were generally comissioned by the ruler, the state, the church, or wealthy private citizens: Pericles, Maecenas, Louis XIV, the Medici, the popes, and individuals like the Earl of Southampton and Peggy Guggenheim. Of course the artist in any field in gratified by the appreciation of his work by an intelligent and perceptive audience. But when appreciation is augmented by actual patronage, the artist''s pleasure becomes considerably keener. For as the 18th-century English novelist Tobias Smollett observed, "empty praise will not supply the cravings of nature, and merit alone will not bring success." Today patronage is corporate rather than personal, generally taking the form of grants and fellowships. And certainly the broadened financial recognition of merit has helped foster the talents of many more individuals than could be aided by the individual sponsors of yesteryear. Yet there seems to be no proportionate increase in the number of artists of the caliber of Shakespeare, Mozart, Michelangelo, or Balanchine. It often takes personal contact to ignite the flame of genius--or to keep it glowing. Though both the artist and his patron lead their own private and separate lives, each of them can be deeply affected by the intersection of the two complementary individuals. The Muse of Gold is an attempt to trace the steps by which that critical spark is transmuted into a vivifying force.
Author | : Columbian Centinel Boston |
Publisher | : |
Total Pages | : 30 |
Release | : 2019-08-15 |
Genre | : History |
ISBN | : 9780461199307 |
This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!
Author | : Christine Gerrard |
Publisher | : Oxford University Press, USA |
Total Pages | : 290 |
Release | : 2003 |
Genre | : Biography & Autobiography |
ISBN | : 9780198183884 |
During his lifetime Aaron Hill was one of the most lively cultural patrons and brokers on the London literary scene - an image hard to square with the company of undistinguished scribblers to which Pope relegated him in the Dunciad. Aaron Hill: The Muses' Projector, 1685-1750, the firstbiography of this fascinating figure for nearly a century, aims to correct the distorted picture of the Augustan cultural scene which Pope passed down to posterity. Hill deliberately confronted Pope in his attempt to free poetry's sublime and visionary potential from the stale platitudes ofneo-classical convention. An early champion of women poets, he also enjoyed close relationships with Eliza Haywood and Martha Fowke, and brought his three writing daughters Urania, Astrea, and Minerva into close contact with his lifelong friend the novelist Samuel Richardson. In 1711 Hill, as stagemanager and librettist, introduced Handel to the English stage, as well as lobbying tirelessly for innovation in the eighteenth-century theatre. His entrepreneurial energies, directed at both commercial and cultural projects, mirror the zeitgeist of early Hanoverian Britain.