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How do the writings of Verlaine, Baudelaire, and Mallarmé speak to our time? Why should we continue to read these poets today? How might a contemporary reading of their poetry differ from readings delivered in previous centuries? Twenty-First-Century Symbolism argues that Verlaine, Baudelaire, and Mallarmé prefigure a view of human subjectivity that is appropriate for our times: we cannot be separated from the worlds in which we live and evolve; human beings both mediate and are mediations of the environments we traverse and that traverse us, whether these are natural, urban, linguistic, or technological environments. The ambition of the book is therefore twofold: on the one hand, it aims to offer new readings of the three poets, demonstrating their continued relevance for contemporary debates, putting them into dialogue with a philosophical corpus that has not yet played a role in the study of nineteenth century French poetry; on the other, the book relies on the three poets to establish an understanding of human subjectivity that is in tune with our twenty-first century concerns.

Charles Baudelaire --- Paul Verlaine --- Stéphane Mallarmé --- human subjectivity --- technological developments --- ecological changes --- contemporary philosophy --- 19th Century Poetry --- Ecopoetry --- Affect --- Non-anthropocentric ontology

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Rooted in Enlightenment rationalism, modernity tends to privilege masculine-connoted characteristics - conscious subjective agency, rational control and self-containment, the subjugation of nature - and has generated a conceptualization of human subjectivity emphasizing these qualities. Yet the costs of this conception of human selfhood are high, and at modernity's most acute moments of historical crisis writers and artists can be seen turning to feminine-connoted figurations - nature, tradition, myth and spirituality, intuition, relationality, flux. In recent decades studies have examined the cultural crisis of German modernity, notably at the turn of the nineteenth to the twentieth century, as a crisis of masculinity. Feminist critiques, meanwhile, have viewed cultural history as male-generated and 'phallocentric,' in need of a feminine corrective. The innovation of this book is to examine these two gendered perspectives side by side, investigating the culturally symbolic significance of gender in post 1945 German language literature via a sequence of paired readings of major, thematically related texts by male and female authors, including Ingeborg Bachmann's novel 'Malina' (1971) and Max Frisch's 'Mein Name sei Gantenbein' (1964); Frisch's 'Homo Faber' (1957) and Christa Wolf's 'Störfall' (1987); Elfriede Jelinek's 'Die Klavierspielerin' and Rainald Goetz's 'Irre' (both 1983); and Heiner Müller's 'Die Hamletmaschine' (1977) and Christa Wolf's 'Kassandra' (1983). Finally, Barbara Köhler's eight-poem cycle 'Elektra. Spiegelungen' (written 1984-85; published 1991) is considered as offering a way past the 'impasse' of the male and female viewpoints. Georgina Paul is University Lecturer in German at the University of Oxford and a Fellow of St. Hilda's College.

German literature --- Sex (Psychology) in literature. --- Identity (Psychology) in literature. --- History and criticism. --- Littérature allemande --- Sexualité (psychologie) --- 1945-1990 --- Histoire et critique --- Dans la littérature --- Christa Wolf. --- Elfriede Jelinek. --- Feminist. --- Gender Perspectives. --- German Literature. --- Heiner Müller. --- Human Subjectivity. --- Ingeborg Bachmann. --- Masculinist. --- Max Frisch. --- Rainald Goetz. --- Littérature allemande --- Sexualité (psychologie) --- Dans la littérature

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In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity. Modal Subjectivities covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520's through the tortured chromatic experiments of Carlo Gesualdo. Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself-the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises.

Madrigals, Italian --- Musical form --- Music theory --- Music and language. --- Language and music --- Language and languages --- Music --- Form, Musical --- Italian madrigals --- Madrigals (Music), Italian --- Analysis, appreciation. --- History --- Theory --- aesthetics. --- affect. --- amarilli. --- archadelt. --- choral music. --- church music. --- cipriano de rore. --- ensemble music. --- gender. --- gesualdo. --- guarini. --- history. --- human subjectivity. --- identity. --- interiority. --- italian culture. --- italy. --- machiavelli. --- madrigals. --- marenzio. --- michelangelo. --- mirtillo. --- monteverdi. --- music history. --- music theory. --- music. --- musica nova. --- musical form. --- musical grammar. --- musical modes. --- musicology. --- nonfiction. --- renaissance. --- salome. --- self fashioning. --- self. --- sexuality. --- social history. --- strauss. --- verdelot. --- wert. --- willaert. --- zarlino.