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Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary step was in part a response to Wagner's negative charges concerning the Jewish influence on German music. In 1898 and especially 1908 Schoenberg's Jewish identity came into confrontation with his commitment to Wagnerian modernism to provide an impetus to his radical innovations. While acknowledging the broader turn-of-the-century Viennese context, Brown draws special attention to continuities between Schoenberg's work and that of Viennese moral philosopher Otto Weininger, himself an ideological Wagnerian. She also considers the afterlife of the composer's ideological position when, in the late 1920s and early 1930s, the concept of redeeming German culture of its Jewish elements took a very different turn.

Redemption. --- Schoenberg, Arnold, --- Criticism and interpretation. --- Redemption --- Religion --- Shenberg, Arnolʹd, --- Schönberg, Arnold, --- Schenberg, A. --- Shenberg, A. --- שנברג, ארנולד --- Schönberg, Arnold

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How do different ethnic groups approach the short story form? Do different groups develop culture-related themes? Do oral traditions within a particular culture shape the way in which written stories are told? Why does ""the community"" loom so large in ethnic stories? How do such traditional forms as African American slave narratives or the Chinese talk-story shape the modern short story? Which writers of color should be added to the canon? Why have some minority writers been ignored for such a long time? How does a person of color write for white publishers, editors, and readers?Each

American fiction --- Minorities --- Short stories, American --- Ethnic groups in literature. --- Minorities in literature. --- Ethnicity in literature. --- Minority authors --- History and criticism. --- Intellectual life.

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This work offers a book-length examination of how international expositions, through their exhibits and infrastructures, sought to demonstrate innovations in applied health and medical practice.

Public health --- Medicine --- Exhibitions --- Santé publique --- Médecine --- Expositions --- History --- Histoire --- MEDICAL --- Public Health --- Exhibits as Topic --- Sanitation --- Communicable Disease Control --- United States --- History, 19th Century --- History, 20th Century --- Military Medicine --- Humanities --- Environment and Public Health --- History, Modern 1601 --- -Medicine --- Audiovisual Aids --- North America --- Public Health Practice --- Health --- Environmental Health --- Americas --- Teaching Materials --- Population Characteristics --- Health Occupations --- Educational Technology --- Health Care --- Disciplines and Occupations --- Technology --- Geographic Locations --- Communications Media --- Information Science --- Technology, Industry, and Agriculture --- Geographicals --- Technology, Industry, Agriculture --- Public Health - General --- Health & Biological Sciences --- Santé publique --- Médecine --- Exhibits --- Expos (Exhibitions) --- Industrial arts --- Industrial exhibitions --- International exhibitions --- World's fairs --- Clinical sciences --- Medical profession --- Community health --- Health services --- Hygiene, Public --- Hygiene, Social --- Public health services --- Public hygiene --- Sanitary affairs --- Social hygiene --- Human services --- Biosecurity --- Health literacy --- Medicine, Preventive --- National health services --- Human biology --- Life sciences --- Medical sciences --- Pathology --- Physicians --- Sales promotion --- Fairs --- Exhibitions&delete& --- History. --- Health Workforce --- SCIENCE, TECHNOLOGY & SOCIETY/History of Science --- BIOMEDICAL SCIENCES/General --- SCIENCE, TECHNOLOGY & SOCIETY/General

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The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bartók engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bartók developed each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bartók was composing.

Grotesque in music. --- Music --- Grotesque dans la musique --- Musique --- History and criticism --- Histoire et critique --- Bartók, Béla, --- Criticism and interpretation. --- Bartokas, B., --- Grotesque in music --- Bartók, Béla