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"Systématiquement confondu avec les Strauss de Vienne, l'arrière-grand-père de Claude Lévi-Strauss est surtout connu aujourd'hui pour sa collection de judaïcas, à l'origine du musée d'Art et d'Histoire du judaïsme à Paris. C'est pourtant lui qui fut chargé des somptueux bals donnés tout au long du Second-Empire et qui fut le premier directeur du casino de Vichy. Violoniste, chef d'orchestre et entrepreneur infatigable, il dirigea également les bals masqués donnés à l'Opéra pendant le Carnaval, et publia près de 500 danses--quadrilles, valses et polkas--, dédiés aux membres les plus influents de la société. En retraçant les étapes qui ont mené Isaac Strauss (1806-1888), fils d'un modeste violoneux et barbier alsacien, à diriger les bals de la Cour et organiser le faste de Napoléon III, ce livre nous plonge dans les bals et leur musique, négligés des historiens et des musicologues, tout en montrant comment, après l'Émancipation, la musique a offert aux juifs une voie privilégiée pour s'intégrer à la société française."--Back cover.

Jewish musicians. --- Strauss, Isaac,

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In 1919 the last Habsburg rulers, Emperor Karl and Empress Zita, left Austria, going into exile. That same year, the fairy-tale opera Die Frau ohne Schatten (The Woman Without a Shadow), featuring a mythological emperor and empress, premiered at the Vienna Opera. Viennese poet Hugo von Hofmannsthal and German composer Richard Strauss created Die Frau ohne Schatten through the bitter years of World War I, imagining it would triumphantly appear after the victory of the German and Habsburg empires. Instead, the premiere came in the aftermath of catastrophic defeat. The Shadow of the Empress: Fairy-Tale Opera and the End of the Habsburg Monarchy explores how the changing circumstances of politics and society transformed their opera and its cultural meanings before, during, and after the First World War. Strauss and Hofmannsthal turned emperors and empresses into fantastic fairy-tale characters; meanwhile, following the collapse of the Habsburg monarchy after the war, their real-life counterparts, removed from political life in Europe, began to be regarded as anachronistic, semi-mythological figures. Reflecting on the seismic cultural shifts that rocked post-imperial Europe, Larry Wolff follows the story of Karl and Zita after the loss of their thrones. Karl died in 1922, but Zita lived through the rise of Nazism, World War II, and the Cold War. By the time of her death in 1989, she had herself become a fairy-tale figure, a totem of imperial nostalgia. Wolff weaves together the story of the opera's composition and performance; the end of the Habsburg monarchy; and his own family's life in and exile from Central Europe, providing a rich new understanding of Europe's cataclysmic 20th century, and our contemporary relationship to it.

Opera --- Political aspects --- History --- Strauss, Richard, --- Zita, --- Charles --- Habsburg, House of. --- Austria --- History --- Die Frau ohne Schatten. --- Emperor Karl. --- Empress Zita. --- Habsburg monarchy. --- Hugo von Hofmannsthal. --- Richard Strauss. --- Vienna. --- World War I. --- opera.

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Art --- installations [visual works] --- public art --- Nature --- environments [sculpture] --- architecture [object genre] --- land art --- McBride, Rita --- Orta, Jorge --- Bartolini, Massimo --- Kuball, Mischa --- Håkansson, Henrik --- Jablonowski, David --- Kawamata, Tadashi --- Weiner, Lawrence --- Oudolf, Piet --- Šušteršič, Apolonija --- Bismarck, von, Julius --- Wagner, Silke --- Wermers, Nicole --- Jeschaunig, Markus --- Treindl, Samuel --- Strauss, Andreas --- Táboas, Sofía --- Dyachenko, Marta --- Dion, Mark --- Ecker, Bogomir --- Nicolai, Olaf --- Orta, Lucy --- Gordon, Douglas --- Rehberger, Tobias --- Mogwai [Glasgow] --- raumlaborberlin --- GROSS.MAX [Edinburgh] --- atelier le balto [Berlin]

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"The surprising story of how Greek classics are being pressed into use in contemporary China to support the regime's political agenda. As improbable as it may sound, an illuminating way to understand today's China and how it views the West is to look at the astonishing ways Chinese intellectuals are interpreting-or is it misinterpreting?-the Greek classics. In Plato Goes to China, Shadi Bartsch offers a provocative look at Chinese politics and ideology by exploring Chinese readings of Plato, Aristotle, Thucydides, and other ancient writers. She shows how Chinese thinkers have dramatically recast the Greek classics to support China's political agenda, diagnose the ills of the West, and assert the superiority of China's own Confucian classical tradition.In a lively account that ranges from the Jesuits to Xi Jinping, Bartsch traces how the fortunes of the Greek classics have changed in China since the seventeenth century. Before the Tiananmen Square crackdown, the Chinese typically read Greek philosophy and political theory in order to promote democratic reform or discover the secrets of the success of Western democracy and science. No longer. Today, many Chinese intellectuals use these texts to critique concepts such as democracy, citizenship, and rationality. Plato's "Noble Lie," in which citizens are kept in their castes through deception, is lauded; Aristotle's Politics is seen as civic brainwashing; and Thucydides' criticism of Athenian democracy is applied to modern America.What do antiquity's "dead white men" have left to teach? By uncovering the unusual ways Chinese thinkers are answering that question, Plato Goes to China opens a surprising new window on China today"-- "Do the ancient Greek classics of politics and philosophy arouse interest among the Chinese? The answer, according to Shadi Bartsch, is a resounding yes. Works by Plato, Aristotle, Thucydides, and to a lesser extent Cicero and Vergil, generally unknown to China during the millennia-long dynastic system, have shown themselves "good to think with" in contemporary China, both at moments of crisis and revolution, and at moments of increasing confidence and nationalism. Even as classical studies wane in Europe and America, the Chinese believe they are indispensable to an understanding of Western culture. First treated as relevant to China's problems of modernization, now more likely to be invoked in discussions of what the Chinese feel is the loss of a moral compass of contemporary Europe and the United States, the Western classics are treated as more relevant than the west has ever treated the Confucian tradition. In this book, based on her 2018 Martin Lectures given annually at Oberlin college, Shadi Bartsch aims to tell the long history of reception of classics in China. It follows an arc in time from the mid-16th century, when the Jesuits first brought classical texts to China, to the events of the tumultuous 20th century-a time of reform, revolution, and repression-and the present day. Although the book is rooted in this history, its major concern is the contemporary situation in China. Bartsch reflects on Chinese intellectual responses to a number of different "classical" topics: Athenian democracy, Plato's "noble lie," the western emphasis on Socratic rationality, the use of Leo Strauss's non-democratic interpretation of these texts, and the struggle to reappropriate the heritage of the West in favor of China's current form of government. These studies help us to see ourselves as "other," reflected in the eyes of a different culture that believes in the value of all the ancients, European and Chinese, but that is decidedly more skeptical toward the modern west"--

Philosophy, Ancient. --- Nationalism --- Plato --- Influence. --- China --- Politics and government. --- Ancient China. --- Ancient Greece. --- Business card. --- Cape Ann. --- Capitalism. --- Carl Schmitt. --- Central Committee of the Communist Party of China. --- Chen Duxiu. --- China. --- China–United States relations. --- Chinese Academy of Sciences. --- Chinese Academy of Social Sciences. --- Chinese Buddhism. --- Chinese New Left. --- Chinese People's Association for Friendship with Foreign Countries. --- Chinese People's Political Consultative Conference. --- Chinese Wikipedia. --- Chinese characters. --- Chinese culture. --- Chinese dictionary. --- Chinese economic reform. --- Chinese literature. --- Chinese mythology. --- Chinese nationalism. --- Chinese painting. --- Chinese people. --- Chinese philosophy. --- Christian mortalism. --- City-state. --- Classical Chinese. --- Classical antiquity. --- Communist Party of China. --- Communist state. --- Conditions (magazine). --- Confucianism. --- Confucius. --- Dunhua. --- Economy. --- Emperor of China. --- General Office of the Communist Party of China. --- General Secretary of the Communist Party of China. --- Government of China. --- Hainan University. --- Han Feizi. --- Hu Jintao. --- Hu Yaobang. --- Hui Shi. --- Jean-Jacques Rousseau. --- Jian. --- Jilin University. --- Legalism (Chinese philosophy). --- Leo Strauss. --- Liang Qichao. --- Liu Xiaobo. --- Mainland China. --- Mainland Chinese. --- Mandarin Chinese. --- Mao Yuanxin. --- Mencius. --- Ming dynasty. --- Modern China (journal). --- Mou Zongsan. --- Nanjing University. --- Neo-Confucianism. --- New Confucianism. --- Nishi Amane. --- Peking University. --- Peng (mythology). --- Philosopher king. --- Philosopher. --- Philosophy. --- Platonic realism. --- Pope Clement XI. --- Port of Piraeus. --- President of the People's Republic of China. --- President of the Republic of China. --- Qianlong Emperor. --- Qin Shi Huang. --- Rationality. --- Republic (Plato). --- Shandong University. --- Shandong. --- Shangdi. --- The Berkshires. --- The Mandarins. --- Tiananmen Square. --- Tianxia. --- Wen Jiabao. --- Western culture. --- Western philosophy. --- Written Chinese. --- Wu Enyu. --- Xi Jinping. --- Xunzi (book). --- Yale College. --- Zhang Zhidong. --- Zhao Ziyang. --- Zheng (state). --- Zhou dynasty. --- Zhuangzi (book). --- Philosophy, Ancient